One of the benefits of reviewing dance professionally is that I’ve gotten to see many companies which were not on my radar prior. It was thus that I discovered that I really like Martha Graham’s company. I saw Program A at the Graham company’s two week residency at the Joyce Theater and I again, was impressed by both the quality of the dancing in the Martha Graham classics and the quality of the new works presented.
The evening started with Dark Meadow Suite, a highlight version of Graham’s much longer Dark Meadow. It speaks to the quality of the choreography that I immediately wanted to see the complete version. Graham said, “Dark Meadow is a re-enactment of the mysteries which attend the eternal adventure of seeking.” The beautiful score by Carlos Chavez accompanies what seems to be a mating ritual between a group of women and another group of men. When the men and women dance together, there are all sorts of contorted positions that simulate sex. However, Dark Meadow Suite ends on a hopeful note as the lone woman (an arresting So Young An) and male (Jacob Larsen) forge a connection that seems deeper than sex. The final pose has Larsen sitting on the floor outstretched, leaning forwards and then standing on his feet. After all the mating, there’s trust and serenity as the curtain falls.
The next two pieces were premiers. The first was Get Up, My Daughter by Annie Rigney. It focuses on a sisterhood of four women who dance to Bulgarian folk music. They seem to be grieving. A lone male (Richard Villaverde) joins the sisterhood and the music switches to Marco Rosano. The Bulgarian folk music returns. The piece ends with the sisters holding hands and rushing forward. The sisterhood is intact. Get Up, My Daughter may not have the mythic power of Graham’s masterpieces, but it was always watchable.
Cortege 2023 by Baye & Asa was the lesser of the new works. It starts with a voiceover, “In times of extreme violence, not even the most powerful or innocent may escape.” A dark sheet is pulled away to reveal dead bodies. We are apparently in the underworld, as the dead spirits stomp and flail to loud, electronica music. At the end the bodies are again covered by the sheet. It’s eye-catching but pretentious.
The evening closed with the Graham masterpiece Cave of the Heart, a gripping retelling of the Medea myth. The sets and costumes by Isamu Noguchi and music by Samuel Barber retain their effectiveness. I particularly love the golden spikes that Medea wears in her final dance.
The sorceress Medea was one of Martha Graham’s trademark roles and there exists a blurry black and white film that shows Graham’s incredible technique and charisma. Thankfully, the role was in good hands with Xin Ying, who captured both Medea’s white-hot rage and icy resolve and mastered the extremely difficult choreographic shapes that were a Graham specialty. Lloyd Knight was also magnificent as Jason - preening, showboating and overtly sexual and predatory with his young bride (Marzia Memoli). Anne Souder exuded a quiet dignity as the Greek Chorus.
Graham’s choreography still has the power to shock. When Medea drags Jason’s new wife onto the stage wrapped in a sheet and tauntingly displays the corpse to Jason, the audience gasped. Medea’s long solo at the end of the work, where she wears her golden spikes and exudes a mix of ecstasy and bloodthirsty sadism, was breathtaking.
Graham was always inspired by Greek myths to do some of her best work. Company director Janet Elber said in her opening remarks that the Graham company was 97 years old. But in works like Cave of the Heart, Graham seems both timeless and contemporary.
