Martha Graham Dance Company, 89 Seasons Young

The Martha Graham Dance Company gave a thrilling performance last night at Carolina Performing Arts. The program repeats tonight, 4/15/15. Dance fans will hate themselves in the morning if they miss the program’s final work, Echo.

Once Miss Graham died in 1991, there was a certain amount of dithering around about how her company would continue. When Janet Eilber, a former principal dancer with Graham, became the company artistic director in 2005, she continued to preserve and reconstruct Graham’s work, but also, as she said from the stage on the 14th, “to commission new work that resonates with Martha Graham’s legacy.” In 2014, the company premiered such a work by Greek dancer and choreographer Andonis Foniadakis.

Maintaining classic Graham style with full-powered grace. Photo: courtesy MGDC/CPA.

Maintaining classic Graham style with full-powered grace. Photo: courtesy MGDC/CPA.

His Echo, based loosely on the myth of Narcissus and Echo, is the most erotic, passionately charged dance I’ve seen in many a year. Danced by Lloyd Mayor as Narcissus and Lloyd Knight as his powerfully attractive reflection, and the ravishing PeiJu Chien-Pott as the nymph Echo, plus an ensemble of seven, this piece alone is worth the ticket. The mythic theme, the sexuality, the entrancing, propulsive music by Julien Tarride, the fabulous skirted costumes by Anastasios Sofroniou and the magical scenic and lighting design by Clifton Taylor are all highly resonant with Graham’s work. The dancing was big and precise at once, with lots of reversals of direction that let the costumes unfurl into fluid shapes, and some blink-inducing lifts and unusual intertwinings.  Although I thought the piece could have been edited to lose the final coda and end on a particularly astounding image, Echo is an astonishing dance, and does so well the aesthetic work that only dance can do. There’s some good video on the choregrapher’s site.

Narcissus and his double in Echo. Photo: courtesy MGDC/CPA.

Narcissus and his double in Echo. Photo: courtesy MGDC/CPA.

The program also includes works commissioned by Carolina Performing Arts. This concert features three new Variations on Graham’s famous Lamentation, one by Chapel Hill native tap artist Michelle Dorrance. It was curious to hear percussive hard-shod foot music as an accompaniment to, rather than a result of the dancing, and to see how Dorrance attempted to fuse her kinetic style with the Graham technique. Not altogether great, but it looks like there’s territory to explore here. The Gerring Variation is more in the Merce Cunningham tradition, and was a solid piece, and the Tayeh Variation was pretty exciting. I still like Miss Graham’s original best: a film of her dancing it precedes the new Variations (of which there are now 12 total, created since 2007).

The program’s first act includes Nacho Duato’s Rust, which CPA commissioned for the Graham company and which premiered in Memorial Hall April 26, 2013. It’s still ferocious, it’s still about torture. It still needs to be seen, and seen again.

It followed on the heels of Steps in the Street, a suite from Graham’s 1936 Chronicle, another overtly political dance. Sadly, the politics of the 2010s bear a strong resemblance to those of the 1930s, and keep this work as timely as Rust. The dancing was very fine last night, with all ten women in lockstep to Wallingford Riegger’s martial music. In long black dresses, moving backwards, clutching themselves, looking over their shoulders, they communicate a chill danger. Triangle dance fans will remember seeing it on the same 2008 ADF program with Lamentation.

The program is leavened by an absurdist dance-theater piece by Annie-B Parson and Paul Lazar of the marvelous Big Dance Theater. According to MGDC’s Janet Eilber, The Snow Falls in the Winter, which the Graham company premiered in New York in February of this year, was inspired by a Eugene Ionesco play, but, she said, Annie-B told her that “the play was awful,” and that she threw out the plot. “So don’t look for one,” Eilber cautioned the crowd. You couldn’t have found one if you were looking. But the series of shifting scenes and ridiculous goings-on had me giggling aloud. I didn’t even mind that there were microphones, and talking. Effervescent was the non-sense.

Advertisements

1*9*5*6 Degrees of Separation: Manning explores time and the woman at Manbites Dog

This review was first published by The Independent Weekly, online at http://www.indyweek.com, on June 21, 2012. You can access it here, or read on.

All art is to some degree autobiographical. Any creation tells us something about its creator. But some art is more explicit, depicting or revealing the artist as she sees herself, or in the case of Killian Manning’s new work, exploring the milieu that shaped her.

Manning was born in 1956; she is 56 this year. Her age makes looking back and taking stock almost inevitable, and the numerology makes the undertaking feels cosmic and lucky. In her 1*9*5*6 Degrees of Separation, she explains and—yes—celebrates herself by animating a cast of famous 50s characters, and her mother. In fact, the dance-theater work can also be taken as an extended love letter to her mother. At her daughter’s insistence, Cathy Manning joined the cast for their bows in Manbites Dog Theater on June 20, shifting her feet in the same signature movement that Killian gave character Cathy on stage. 1*9*5*6 Degrees of Separation, which runs through June 24, is the final show in MDT’s Other Voices series for 2012.

Beat poet Allen Ginsberg portrayed by Derrick Ivey. Photo by Eric Waters.

And there are voices in this dance. In fact, the dance feels secondary to the theatrical exposition (it is not a drama). After a little introduction, Manning parades her characters onto the stage one by one, and each does a little movement riff by which we shall know them. Manning has chosen these people to represent an imagined zeitgeist of her natal year (and beyond), but it is as interesting to think about who’s not there as who is. The only dance artist included is ballerina Margot Fonteyn. Not, for instance, modern dancer/choreographer Martha Graham, who was certainly making news in 1956. Grace Kelly gets a role, for making the transition from actress to princess, but Ingrid Bergman, who won an Oscar that year for her work, goes unmentioned. The great Beat poet Allen Ginsberg gives what you could call the keynote speech (Derrick Ivey, reciting from Howl, in the show’s most gripping moments), but there’s no equivalent musical giant like Charles Mingus, who released the amazing Pithecanthropus Erectus album that year. Instead, there’s the young Elvis and his new release, “Hound Dog.” The point is not that Manning’s choices are wrong in any way, but that this is her version of her 1956. She has shaped it to fit the woman she has become.

Jonathan Leinbach as Dwight D. Eisenhower. Photo by Eric Waters.

Manning mixes straight biography with a soft-edged magical realism, some of it quite charming, as when President Eisenhower dances and chats with Cathy Manning, or when J.S. Bach appears to her for a long conversation, in which he explains that Killian really is musical, it just all comes out in the dances. There are a number of pleasant and enjoyable dance sequences in this work, but none of them are special, not even Margot Fonteyn’s (and really, she should have been wearing pointe shoes) or the well-conceived duet between Bach (Jonathan Leinbach) and Glenn Gould (Matthew Young). Most of the cast are not advanced dancers (a fact all too obvious during ADF season), and even if they were, they would still be contending with the concrete floor—it is no wonder if there is a slow tentativeness to their movement. Some of this may have been purposeful, to enhance the dreamy magical quality, but it made for a lack of brio.

As interesting as her idea is, it is not quite adequate to carry the production. I admire Manning for keeping on keeping on making new work. But this show points up how difficult that must be, what with a full-time job, few dedicated funds, no foot-friendly theater space, etc.

There is just not enough time or money to take it all the way. No aspect of the show is fully thought-out. For instance, two media screens hover in the background, showing pictures from 1956. For them to have been really effective, Manning would have needed many more images, a flowing river of images, not a short repeating cycle. The script would have benefitted from a little ruthless cutting—I never could figure out what Diane Arbus was doing in there, and her actor, the unflappable Marcia Edmundson, seemed equally at a loss. Marilyn Monroe didn’t seem too sure about what she was doing, either, and that’s out of character for actor J Evarts. The sound was not exploited for emotion, but stayed quite even in volume and texture throughout. I longed for it to thunder out while Bach and Gould danced their duel, and I really longed for Manning herself to project some volume during her speeches.

For all its unevenness and lack of kinetic glory, 1*9*5*6 Degrees of Separation is still an enjoyable evening. It is good to look back, and see how far away we are not from the times that formed us.

No Forwarding Address will send us back to 1956

“Just J” Evarts will portray Marilyn Monroe in Manning’s new dance/theater work

About once a year, Chapel Hill choreographer Killian E. Manning/No Forwarding Address creates and produces a sprawly new work of dance-theater. This year’s, to be performed as part of Manbites Dog Theater’s Other Voices Series, promises to be highly entertaining. 1*9*5*6 Degrees of Separation marks the year of Manning birth with what will undoubtedly be comic scenes-that-might-have-been.

I’m particularly looking forward to seeing Derrick Ivey as Khrushchev (if you don’t know who that is, you definitely need this faux history lesson) and J Evarts—slim and dark in daily life—as the voluptuous blonde Marilyn Monroe.

For tickets, see http://www.manbitesdogtheater.org/391/

Bamboo Wind

An Evening of Dance, Sculpture & Photography

mhdekm

A topnotch WordPress.com site

peter harris, tapestryweaver

TAPestry And DESIgn

Gilbert and Sullivan's "Thespis" & "Trial by Jury" -- Director's Blog

a countdown to the next performance, October 12-15, 2017

Backstrap Weaving

My weaving , my indigenous teachers, my inspiration, tutorials and more........

Social Justice For All

Working towards global equity and equality

Not At Home In It

collections/connections

inkled pink

warp, weave, be happy!

warpologynotufos

Projects finished or in process by the Warpology studio

Peggy Osterkamp's Weaving Blog

"Weaving should be fun!"

SHUTTLE WORKS STUDIO

Studio Life of a Weaver, Spinner, Dyer

This Day in North Carolina History

The people and places of the Tar Heel state day by day.

Linda Frye Burnham

Laissez les bons temps rouler

Art Menius

Roots Music, Culture, and Social Change

Mae Mai

Boldly going where no cellist has gone before...

The Upstager

All the world's an upstage.

Literary Life in Italy

Looking at Italy through literature

The Five Points Star

Cultural criticism, news, schmooze and blues radiating from Durham, NC

%d bloggers like this: