Emerson Cutler Majestic Theatre, Boston, MA.
November 23, 2024.
Some name Martha Graham the “mom of contemporary dance.” Students and dance fanatics could (and do) moderately debate the declare. Maybe extra assuredly, she’s the mom of American trendy dance — first presenting work in 1926, and from there inspiring numerous American dancemakers to create one thing of their very own. 2026 marks the corporate’s Centennial.
The dance firm, the oldest within the U.S., is within the midst of a three-year Centennial Celebration — full with touring, commissioning new works, increasing the corporate’s repertory, cross-disciplinary collaborations, public outreach initiatives and extra. I used to be blessed to expertise a part of this celebration in Boston – wherein, fairly fittingly, I noticed mirrored a sure form of American spirit. Every work resonated with a barely totally different timber of that spirit, however filled with Americana every remained.
Graham’s Darkish Meadow Suite (1946) kicked off this system. Emblematic of Graham’s pathbreaking voice, it provided each thriller and luxury. It started with dancers unfold out throughout the stage, the one rating their toes and breath. As they moved at molasses-speed, an environment constructed as enigmatic because the title. Their costumes of earth tones and motley line, form, and picture (by Graham) added to that enigma.
Graham signatures have been additionally evident proper off the bat — grounded weightedness, readability of form, expressiveness in spinal rise and fall. Her musical affinity was additionally clear, with the motion vocabulary – because it step by step gained pace and depth – assembly varied layers within the rating. That concord of motion and music, filled with clear accents and power, provided one thing predictable within the midst of ambient uncertainty. Soloist Anne Souder was a very certain anchor; she introduced beneficiant and delicate subtlety to every arch, contraction, and much past.
Additionally notable was the work’s partnering, a certain instance of Graham’s improvements constructing on – after which absolutely shaking up – the classical ballet custom. Dancers angled their our bodies ahead, straight as plywood, with the help of companions. From that secure place, they swept arms throughout house earlier than them, alternating proper and left. Amidst the thriller and unease, there may very well be belief and care…maybe there wanted to be.
That had me starting to consider the American spirit inside this program. On one degree, sure, all of it felt like such quintessential Graham, her being (I’d argue) the founding pioneer of this nation’s trendy dance custom. Past that, the experimental undertaking of American democracy may be filled with darkness and uncertainty – but, in one another, and with persistence, there’s additionally gentle and tranquility.
Additionally hanging to me have been the virtually earthy and animalistic qualities at hand – feeling like one thing from a a lot totally different time in human historical past. In an age of ubiquitous smartphones and tablets, it’s no unhealthy factor to interface with these elemental components of us.
Agnes de Mille’s Rodeo (1942) got here subsequent, which Creative Director Janet Eilber had famous would deliver fairly a special tone than the previous piece. (She was fairly appropriate there.) Eilber additionally famous that the work was the primary main live performance work to include American vernacular motion varieties, many deriving from the nation’s immigrant and enslaved communities.
Instantly clear within the work have been the influences of these vernacular varieties, in addition to beautiful little moments constructing character and narrative. Motion and theatricality danced collectively, no seam in sight – from the work’s starting to its finish. The fluid assembly of the vernacular and concert-based varieties, which then so splendidly served the work’s theatricality, demonstrated how de Mille grew to become a real grasp of choreography for the display screen.
Sure, there have been turns, leaps and shapes that should be completely exact to learn. But, that virtuosity appeared to dwell inside the gestural and body-level nuance, that which stood as an unshakeable basis for the ever-evolving drama at hand. Pleasure may then burst from the stage, and I couldn’t assist however smile alongside; it was plain infectious. Significantly pleasant have been The Cowgirl (Laurel Dalley Smith), educating a masterclass in comedic timing, and her eventual love curiosity (Richard Villaverde), exuding a spot-on mix of bravado and heat.
All the little moments of drama constructed to a nighttime sq. dance, full with a backdrop virtually Starry Night time within the ethereality of its moon and stars (by Beowulf Boritt), and a daytime dance earlier than a barn. The “ugly duckling” cowgirl there discovered her footing, danced with aplomb, and ended up with not one however two suitors. She was the “everygirl” who stepped up, claimed what she wished, and got here out on high due to it. That’s the quintessential American story in any case, isn’t it?
Graham’s iconic Lamentation (1930) adopted, fairly memorably carried out by So Younger An. As Eilber had additionally shared, the whole solo takes place on and proper earlier than a bench – the soloist spotlit and the stage in any other case pitch-dark. The pathos escalated because the soloist’s actions grew to become extra taut and staccato.
Easy rib cage rolls and lateral torso shifts grew to become angular reaches, palms clasped with rigidity and arms spreading in opposition to the tubular costume’s constriction. Younger An delivered all of that with full generosity and command. It was clear that she had absorbed the quick solo’s each nuance into her very being – in order that she may then supply every to us in flip.
At one level, she stood, and I virtually had hope that she would discover the company to step away from the bench. But, that was to not be. The taut qualities, the battling of the costume’s constriction, solely elevated – till she slumped ahead from the waist, folding over legs. Not all endings are glad, and a few don’t see the sunshine on the horizon that can come. Dr. Martin Luther King knew that he may not see the mountaintop, but he led us towards it nonetheless. That long-sighted wrestle for one thing higher is one other indispensable a part of the American story.
It may very well be my trendy bias, however of all this system’s works Jamar Roberts’ We The Folks (February 2024) felt most explicitly illustrative of this nation — its tensions, its purported values, its imaginative and prescient of what it may very well be. The piece therein felt like an awesome nearer, offering each hope and meals for thought as we step ahead into the subsequent American chapter.
Motion oscillated between the aqueous and one thing extra convulsive. Dancers rode the road between the refined and frenetic, coming again to the calm of management after the fun of virtually shedding it. They moved tenaciously, independently, then collectively danced one thing softer.
All of the whereas, supple receptivity made accented power pleasantly steady — a kinetic intelligence at hand that melded all of those qualities and contrasts right into a harmonious complete. These dynamics intensified as a solo shifted into the complete, busy stage of the entire ensemble shifting collectively – but additionally which Roberts keenly formed to stay digestible.
The rating (from Rhiannon Giddens) and costuming (by Karen Younger) have been a supportive container for all of these selections, and in addition sharpened the poignancy at hand. Electronica-peppered bluegrass tones and denim felt modernized, but additionally grounded in one thing older – the Americana custom ringing by to our current day. America is stuffed with contrasts and contradictions: from sea to sea, previous and current, group to group. We discover one thing fluid and fruitful after we deliver some form of reconciliation to division.
Towards the work’s finish, a considerate, unrushed, unforced solo crammed the stage. That shifted into one other tenacious group part, resonating with much more hope and vivacity. I may really feel the dancers’ pure pleasure vibrating off the stage, ecstasy from the easy expertise of shifting in group. That’s one thing to recollect as we transfer ahead right into a extra excellent union.
It may possibly additionally merely be the shifting artwork that’s entrancing and invigorating to expertise – and that’s precious too. We’d like each. Thanks to Martha Graham Dance Firm for providing each, and congratulations on an indelible legacy. Our oldest dance firm is now woven into American material, telling its singular tales – and in addition remaining a shining creation of its personal.
By Kathryn Boland of Dance Informa.
