Can you spell "Spectacular"?

Founded in March 1958, the modest little Alvin Ailey American Dance Theater has come a long way - performing for nearly 21 million people in 48 states and in 71 countries. Attributed by many to have changed the perception of American dance, the performance, Feb. 15, at Bass Concert Hall proved them right.

The night started off with "Reminiscin' " choreographed by the company's artistic director, Judith Jamison, which depicted a bar scene. Interestingly, this was partly inspired by the painting "Nighthawks" by Edward Hopper.

There was an unmistakable chemistry between the male and female dancers on the stage, cavorting about to the music of jazz greats such as Diana Krall and Judy Vaughan. One scene involved the girls dancing for the young men in the bar, and then have the roles reversed as the men danced in John Travolta-like movements, which was an immediate crowd-pleaser.

"Witness," a short yet powerfully poignant performance by a solo female dancer dressed in a long white gown, held the audience spellbound as her movements became the embodiment of the emotions dealt with in a journey of spiritual sorrow that finally finds peace. It was accompanied by a traditional gospel sung by Jessye Norman, with the refrain "My soul is a witness for my Lord." The setting was sparse but impressive with layers of candles along the backdrop.

The following piece, "Night Creature" contrasted sharply with "Witness." It turned out to be a vibrant, energetic tour de force. This piece tells the story of a group of hip, young cats who spend all night reveling in jazz clubs. Hailed as a celebration of jazz culture, the music for this piece was by Duke Ellington, an influential jazz musician from the early 1900s.

The dancers pranced about the stage in playful leaps and complex leg movements, mixing elements of swing and ballet, in sync with Ellington's slick piano and rhythmic beats. "Night Creature" ends as dawn approaches and each night creature departs one by one, waving good-byes to the female lead and to the audience.

The finale act was "Revelations," Ailey's classic masterpiece, written when he was 29, which has garnered widespread acclaim by critics and audiences alike. "Revelations" explores Ailey's growing up in Central Texas and the Baptist music that was to become his inspiration.

"Revelations" is divided into three central ideas: going into the earth, baptism and purification, and church happiness. Songs such as "I Been 'Buked,'" "Wade in the Water" and "Rocka My Soul in the Bosom of Abraham" were featured in this piece.

I would hardly have guessed that the music was the conceptualizing factor for "Revelations," as the dance movements were so much more fluid and executed so - permit me to use this word - perfectly, that it seemed that they complemented each other and there was no real sense of the order in which they fell into place. Nevertheless, the audience really enjoyed the music.

The clever use of pale blue and white cloth to portray the river of baptism was also, quite clearly, a breathtaking moment. However, the most climactic moment came when the women, donning floppy straw hats and bright orange dresses, danced with the tuxedo-clad men in the sun, singing to the tune of "Rocka My Soul in the Bosom of Abraham."

From the show, it really was not difficult to see why "Revelations" was a favorite among the audiences. It was like a collage, many different pieces of memories put together, not knowing how they would match the others, yet each memory forming an integral part of the collage, each lending an element otherwise absent. This was the heart of the African-American people, beating with the emotional resonance of a young boy growing up in the South.