Financial Times - The Nightmarish And The Exhilarating Meet In Rennie Harris's 'Lazarus'
In Lazarus — the stunning finale to Rennie Harris’s dark trilogy for the Ailey company — a cluster of dancers sways on their toes, heads cocked as if their necks had been broken by hanging. Others roll forward like corpses carried away on the tide. In a recurring motif that evokes the Pietà, one person gently drags another, collapsed in his arms, across the stage. This is the “strange fruit” of African-American history. When the dancers pray, they shake their clasped hands like gamblers desperate for a lucky roll.
