MARTHA GRAHAM DANCE COMPANY

Review by Celia Ipiotis

Janet Eilber (Graham Artistic Director and former Graham dancer) eloquently opened the evening at City Center, introducing the enduring Appalachian Spring in a program dedicated to Graham and the company’s 100th anniversary season celebration.

Understandably, Appalachian Spring is considered an American classic. Created in collaboration with composer Aaron Copland, Marth Graham’s ode to America’s pioneering spirit is framed by Isamu Noguchi’s abstract set.

The blue scrim appears through Noguchi’s spare frame like the everlasting midwest sky and the promise of an endless future for the Bride (a sprightly Ann Souder), Husband (stately Lloyd Knight), Pioneer Woman (a stately Ane Arietta) and Preacher (a spirited Jai Perez), plus his acolytes. This season, the company was  lifted by the live music performed by members of the Mannes Orchestra.

Two other works by Graham completed the  program including the very timely Chronicle–a piece created when Graham defied Hitler’s unconscionable actions by and whose invitation to perform at the 1936 Olympics she refused. Instead, Graham choreographed an all female piece of resistance.

Broken into three parts, Prelude to Action opens with Leslie Andrea Williams in a commanding stance registering the strength we all hold as individuals. Spectre, a large ensemble of women, determinedly criss-cross the space in broad leaps while Williams unfurls a voluminous skirt stained one side in red. FInally, in the Steps in the Street section, the undaunted women return in jagged runs of defiance.

Returning to the most potent of all emotions, love, Graham’s 1948 Diversion of Angels tells the story of youthful love ( a vivacious Marzia Memoli in yellow), erotic love (a technically sound So Young An in red) and mature love (an expansively graceful Ann Souder in white).

Each phrase is drawn with its own vocabulary organized around the torso contraction, cupped hands, and exhilarating pitched turns. A deepened connection to the earth is formed through the pelvis, and the  exalted runs, heads down and arms swinging forward and back in wild abandon.

All three pieces exhibited a well rehearsed company of dedicated dancers capturing Martha Graham’s resolute spirit.

EYE ON THE ARTS, NY — Celia Ipiotis

***Photos by Steven Pisano and Melissa Sherwood