Two Alvin Ailey Productions Head for the Light

Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels” aspire to find higher ground at New York City Center.

Dancers moving from being scorned to rocking their souls in the bosom of Abraham — this is the narrative arc of Alvin Ailey’s masterpiece, “Revelations.” And that redemptive passage into the light is the template that many choreographers for Alvin Ailey American Dance Theater try to replicate.

Very rarely does such a work escape the shadow of “Revelations” and the gravity of cliché. Ronald K. Brown did it in 1999 with “Grace,” and during the Ailey company’s current season at New York City Center, a 25th anniversary revival of that unfailingly spirit-lifting dance is successfully replacing “Revelations” in the closing spot of several programs. But “Grace” is an exception, whereas Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels,” the two works that debuted last week, are not.

With “Finding Free,” Boykin, a beloved former member of the company, is at least attempting a slightly different approach with an Afrofuturist take. She and Jon Taylor have costumed the cast in long, sleeveless coats with giant lapels and upturned collars that frame their faces and make them look like something between sci-fi courtiers and private eyes. By the end, they have swapped the coats for diaphanous shifts that, like Al Crawford’s cathedral lighting, signify spiritual transformation.

That transformation is aided by an original score, courtesy of the jazz pianist Matthew Whitaker, who plays it live in a quintet behind a scrim at the rear of the stage. (Boykin’s last work for the Ailey troupe, her “re-Evolution, Dream” also commendably used a commissioned score by a living jazz musician, Ali Jackson.) In the final section, Whitaker’s organ brings us to church with some funky gospel and “His Eye Is on the Sparrow.”

But the path to get there is awfully murky. The dancers mainly travel in a pack — shuffling, skittering, pivoting, jogging, lining up. One member after another leaves the flock, only to return. When they spin, the tails of their coats fly up, and they spin a lot. They walk portentously into the light. They also collapse, open their mouths in silent screams, crawl as if crossing a desert and writhe in anguish.