DANCES BY CHARLES WEIDMAN

Anyone who attended Dances by Charles Weidman was fortunate to witness the revival of
Weidman’s historical choreography. The performance featured the Sokolow Theater/Dance
Ensemble, multidisciplinary artist Nikolai McKenzie, and Alex Clayton from the Paul Taylor
Dance Company, offering a diverse and emotional showcase of Weidman’s choreographic
voice.

The show took place in the intimate Scripps Studio Theater, with natural light setting a tone of
authenticity. The evening opened with Clayton’s solo in Mens Dance, an excerpt from Weidman
and Doris Humphrey’s New Dance. Precise, percussive movement pulled into gravity,
exemplifying Weidman’s style. Before the performance, the audience watched part of Charles
Weidman: On His Own, a film offering insight into his legacy, giving the audience a glimpse into
Weidman’s mind before experiencing his choreography.

Samantha Geracht, Artistic Director of the Sokolow Theater/Dance Ensemble, emphasized that
Weidman’s works shouldn’t be labeled as “legacy dance” but as living pieces reflecting his vital
contributions to modern dance. She explained that when you visit the Metropolitan Museum of
Art or Carnegie Hall, you aren’t experiencing “legacy” art or music, but something alive and
ever-relevant.

Following Clayton’s solo, the ensemble performed Lynchtown, inspired by a tragedy Weidman
witnessed in his youth. It addressed human violence, with dancers moving in unsettling,
gesturally suggestive patterns. A figure in grey was dragged across the stage, contrasting the
energetic dancers in warm tones. The stark imagery, set in a small, intimate space, conveyed
the loss of humanity in the face of violence, intensifying the emotional impact of the work.

Nikolai McKenzie then brought a shift in mood with Danse Americaine, a solo created for
Weidman by Ted Shawn in 1923. McKenzie, wearing a bowler hat and suspenders, imbued the
piece with humor, spunk, and style, embodying a braggadocious character. McKenzie’s
performance took on a personal dimension as he reflected on his Jamaican heritage, wearing a
Jamaican flag beneath his hat. For McKenzie, the piece spoke to the role of immigrants in
shaping American culture and the spirit of modern dance, which drew from real life and real
issues.

The performance concluded with an excerpt from Christmas Oratorio. This modern dance
depiction of the nativity captured Weidman’s grounded style, accounting for every emotional
detail. The dancers shifted seamlessly between works like Lynchtown and the celebratory
Christmas Oratorio, a challenge that dancer Brad Orego discussed post-show.

The performances were a reminder of Weidman’s distinctive style and his exploration of
emotional depth. His works reflect the culture of his time and remain relevant today, making a
lasting call to action for artists and audiences alike. Clayton reflected on his lasting inspiration
after seeing Lynchtown for the first time; his belief that modern dance relinquishes fear of
commenting on important things. That what movement has the capacity to stand for is powerful.

EYE ON THE ARTS, NY– Emma Morris