Graceful Gilmore.

Dancing in the Alvin Ailey company Was once a dream for Vernard J. Gilmore, Now he's keeping Ailey's dream alive for A new generation

Vernard J. Gilmore recalls the wonder he felt as a teenage dance student watching a videotape of the Alvin Ailey American Dance Theater perform performing Revelations. This year the wonder remains, but the circumstances are much different. Revelations, that classic of American modern dance, is celebrating its 40th anniversary, and Gilmore--a prime example of the new superhuman fleet of Ailey dancers--is onstage with the Ailey company to perform it.

Although Gilmore never met Ailey--he was only 14 when the choreographer died of AIDS complication--he feels Ailey's legacy deeply. "Just watching him or listening to his words when he speaks on tape is so inspiring," says Gilmore. And when audiences this spring in cities including Chicago, Houston, Los Angeles, Seattle, Phoenix, Boston, and Washington, D.C., watch Gilmore tear through Revelations' "Sinner Man" trio or undulate through the "Wade in the Water" sections, they'll understand Ailey's vision of dance.

Gilmore was on the track team at a performing arts high school in Chicago when he became intrigued by the school's dance department. "I was just amazed by the dancers' discipline and how they moved," he says. "I got hooked." Shortly thereafter, he was offered a scholarship at the Ailey School, and he danced with the Ailey II company.

Judith Jamison, Ailey's greatest star dancer and currently the artistic director of the Alvin Ailey American Dance Theater, saw that Gilmore had something special to bring to the ensemble when she asked him to join.

"Vernard is a very sensuous dancer--without even trying," says Jamison. "There is a warmth about his approach to movement, and he is respected by his fellow dancers for his hard work even when it is extracurricular [putting himself through extra rehearsals in his off-hours]." To that assessment, Jamison adds a compliment that any young dancer would yearn to hear: "Vernard gives me, every now and then, glimpses of Mr. Ailey dancing, especially in `Wade in the Water.' He, however, has his own distinct way of moving that is exciting to watch."

Unlike Ailey, who was never able to be open about his sexuality, Gilmore came out even before his career got rolling. When he had "the talk" with his mother at age 16, he says, she winced. Now, though, Gilmore hastens to add that she fully embraces him with the rest of his family. And another thing: he's single and shopping. ("I'm a Libra," the 25-year-old says mischievously. "Libras like variety.")

That would include the repertoire he's dancing. In addition to performing in Ailey's ballets, Gilmore has been featured this season in Alonzo King's Following the Subtle Current Upstream, Ulysses Dove's Bad Blood, and Bill T. Jones's Fever Swamp, a ballet from 1983 that Jones rechoreographed for Gilmore, turning it, as Jones says, into "a kick-ass tour de force performance where the performers and the viewers attain a curious adrenaline rush."

Built as solidly as vulcanized rubber and blessed with the ability to jump, stretch, and attack movement--or render it lyrically silken--Gilmore is a fine representation of the new generation of Ailey dancers. "We are always striving to reach the highest technical level--but we don't lose track of who we are," says Gilmore of Ailey's intensely spiritual and emotional legacy. "We are always being told to bring ourselves to the movement. We want to be human onstage."

Jamison, for one, feels Gilmore is excelling in the human department. "I look forward to his growth as an artist and a human being," she enthuses. "He understands what it is to be generous with his gift."

Gilmore is still expressing gratitude for that gift. "Dancing is our first language," he explains. "We have to remember that. Unfortunately, people don't realize how important the arts are, especially dance. You can say things, you can do things, you can be things that you cannot be in society. Onstage you can say so much."

Carman also writes for The New York Times.