Two Sundays ago young performers Ashley Bromfield and Javal Lewis stepped into the annals of the National Dance Theatre Company of Jamaica (NDTC).

The pair, who are part of the next generation cohort of the renowned local company, premièred their interpretation of Vision, Clive Thompson’s touching, tender and athletic pas de deux, at the annual Easter Sunday Morning of Movement and Music staged by the NDTC at Little Theatre in St Andrew. For many, the performance by Bromfield and Lewis was the highlight of this year’s event, which is now in its 38th year.

They step into the shoes of previous pairs including Carole Orane and the Cuban Arsenio Andrade Calderon, upon whom the work was first set in 1995. Vision has also been brought to life by current artistic director of the NDTC Marlon Simms and Stefanie Thomas, as well as ballet mistress Kerry-Ann Henry and senior dancer Mark Phinn.

Having performed the work Simms had a tacit understanding of what was required, and therefore chose carefully when he selected this twosome.

“They compliment each other perfectly. They are both classically trained at the Vickers Ballet Studio. This is one of the pieces that draws heavily from ballet. A lot of it has to do with control, alignment, balance and symmetry, so I knew they would have worked well together given their chemistry and their attention to detail. They both are passionate about dance and care about being right,” Simms told the Jamaica Observer.

His decision to choose this pair was supported by choreographer Clive Thompson, who not only agreed to have the work performed for the traditional, 6:00 am Easter performance, but immediately agreed on the choice of dancers.

“I got a call from Marlon, asking me if he could use the work. I then asked who were the dancers and he said Ashley and Javal and, without a moment’s thought, said ‘O yes definitely’. Javal has an excellent physique and his classical training allows him that foundation to speak the language of dance more fluently. Ashley is such a joy to work with. She has all the facilities required for this piece,” said Thompson.

Bromfield and Lewis both expressed that there was a level of trepidation when they were informed that they had been chosen to remount the work.

“At first I thought ‘okay I’m going to do this thing. It involves a lot of lifting and I will just have to prepare for partnering’. But my whole perspective changed when I realised what the work was all about. I quickly realised it was not just a thing, but more work than I thought. Having worked with Ashley before at Vickers I knew she would be great, so I had to prepare mentally and physically for what was ahead,” said Lewis.

“To be honest, I was worried. I knew it was a difficult work to master and we did not have much time. I don’t think ballet is one of my strong suits; I would more lean to modern and jazz. But once we began to put in the work I began to become excited. Then once I started watching the tapes there was a sense of gratitude to know that I was becoming part of the next duo to perform this work.” Bromfield explained.

Vision opens with both dancers performing solo pieces set to the American spiritual Deep River, as performed by Jamaican bass baritone Sir Willard White. The work them culminates with the pair performing to Aaron Neville’s take on the classic Ave Maria. Lewis and Bromfield were first taught their solos by Simms and Kerry-Ann Henry from memory, as well as the recordings. Choreographer Thompson was then brought in to clean up, fix, coach and ‘sandpaper’ the performers.

“With Clive we went over and over,” said Bromfield. He told us the story of how Carole and Arsenio fell in love dancing the piece and ultimately got married. I then realised how much of a connection I would have to make with Javal. I however, kept questioning whether I had the quality of Carole (Orane), so I had to learn to be softer and master that quality of movement,” she continued.

On Easter Sunday morning Lewis was not feeling well and this threatened the success of the piece.

“It was nerve-wracking,” Lewis explained. “The night before, out of nowhere came a fever and headache…I was sick. I kept on thinking how was I going to do this considering the strength and stamina required. I just had to make it work, go on stage, and do the best possible,” he recalled.

Lewis’s sudden illness was of concern to Bromfield, as she was too aware of what was required on stage. However, when the lights came up and the curtains opened both dancers shook off all signs of nervousness, brought Vision to life, and earned the applause of an appreciative audience.

“I usually make notes for the dancers when my works are being performed,” Thompson noted. “However, this time I may have written two works and then I was transfixed. I was sitting in the second row and so nothing went by me. I was mesmerised. All the little parts that were challenging in the end were perfected. Everything just came to the fore. I was in tears…I could not even clap. The work is in safe hands. This is credit to the NDTC and Marlon. It’s all about rebirth,” he added.