The June Gala of the CDT and The CDT School was mounted last Sunday to much celebration of achievement and excellence.

On stage at Courtleigh Auditorium was the culmination of much hard work and dedication across all the proficiency levels of the art form.

The programme opened with Rejoice In The Clouds (2007) choreographed by Tony Wilson and performed by The Company. The dancers moved in white to a heart-stopping soundtrack dubbed Cirque du Soleil.

The costume shade carried to Little Swans (2024) by Sydne Walcott with the Level 1 dancers onstage. The audience could not contain itself. They were followed by a Level 3 quintet going on The Adventure (2024) choreographed by Charissa Clemetson.

The Junior Ensemble would then present Steven Cornwall’s Tribal Beats (2024). There was no doubt the dancers were having fun — the faces confidently said it all.

Kelly Barrett’s Dynamix (2024) was next to light up the stage. Set to the iconic 90s track popularly known as Everybody Dance Now, the Level 1 dancers brought all they had to the delight of the audience.

No less powerful, but in dark contrast, was the Adult Ensemble’s presentation of Andrew Bailey’s Sororitas (2024). With the drama of a horror flick, the dancers’ intensity had the audience silenced.

The Level 2 dancers thereafter debuted the ‘princessy’ Wish Upon A Star (2024) by Walcott.

The first half then ended with an excerpt of Michael Holgate’s Creole Blooming (2010). Though colourful and vibrant, the numbers on stage could definitely be culled to show off the great formation changes and transitions. Nonetheless, the audience thoroughly enjoyed it.

Serving this year as honorary gala chair was Senator Kamina Johnson Smith, minister of foreign affairs and foreign trade. She harked back to her own years as a dancer, testifying to myriad life benefits that emanate from the discipline.

In attendance was the company’s beloved Honorary Artistic Director Emeritus Tony Wilson, founder of The Company Dance Theatre and Tony Wilson School of Modern Dance.

His presence sparked cheers and applause from attendees, who were thanked for the support down the years and encouraged to continue responding to the needs expressed.

The dance intermission ended with Renee I McDonald’s intense Spectrum (2012). The dancers delivered strong front of stage. McDonald, who serves as CDT associate artistic director, would present more choreography later with This Is Me (2024), backed by pop music, with the Level 3 students.

Artistic director of The CDT School Steven Cornwall’s Sway (2024), performed by Level 2 students, was pleasing to the audience. More of his work, Freedom (2024), complete with hand fans, would later face an adoring audience. One dancer, whose arm wore a visible cast, notably kept apace with every swish.

The sole item from CDT Artistic Director Dr Sade Bully-Bell onstage was
Passages (2024). Programme notes suggest it is a work-in-progress, but to this audience it needed no second. It opened with a masterful male solo dancer (Andrew Bailey) and solo instrument. The next movement featured a quartet, then a small group — seemingly blossoming with dancers. The piece had all the fixings.

The penultimate work onstage was Bailey’s Savant (2024) by the Junior Ensemble. There was great use of the whole stage and visible hip hop influences in the movement, which was undergirded by music from Travis Scott featuring Beyonce.

Last onstage was an excerpt from Tony Wilson’s Jamaica Wi Proud (2008). A fitting denouement in tribute to a shared identity and legacy in the art form. The audience did not withhold its appreciation.

Cheers overflowed as the entire cast appeared onstage with their teachers and management to close a show emceed by Alando Terrelonge, state minister in the Ministry of Foreign Affairs and Foreign Trade.

Gala 2024! Bravo!