Tag: Melissa Sherwood

Graham Gala @ The Joyce ~ 2023

Above: Ying Xin of the Martha Graham Dance Company; photo by Melissa Sherwood

Author: Oberon

Thursday April 20th, 2023 – The Martha Graham Dance Company are at The Joyce for a couple of weeks, and tonight was their gala evening. The program offered Graham’s All-City Panorama and Embattled Garden book-ending three excerpts from Canticle for Innocent Comedians (choreographed by Sonya Tayeh with the individual sections by Jenn Freeman, Martha Graham, and Micaela Taylor).

All-City Panorama is a re-take on Martha Graham’s 1935 work, Panorama, which premiered at a summer retreat in Bennington, Vermont. The original Panorama was 45 minutes long, set to a score by Norman Lloyd, and was performed by student dancers, It served as a rallying call to for social change. Panorama was lost until 1992, when an early film was discovered; from this, the dancework was reconstructed by Yuriko, who passed away in 2022 at the age of 102.

Above: from All-City Panorama, photo by Rosalie Banner

Tonight’s performance boasted a large ensemble of teen-aged dancers, all clad in red (Martha Graham had designed the original costumes). Heralded by drums, they take the stage with a youthful energy that is exhilarating. Forming and re-forming in various sub-groups, they move in compelling design patterns – from runabouts to noble processions – employing classic Graham steps and gestures.

A central quintet was impressively danced, and at one point, everyone musters into a moving, stage-filling circle: a celebration of community. Following a finale filled with traveling leaps, the stage is emptied. The dancers took their bows to a vociferous ovation from the packed hall.

Janet Eilber then appeared onstage, hailing the young dancers as the future of Graham; later in the evening, the past was also honored as veteran dancers among the audience were cheered. Overall, the evening felt like a celebration of the proud continuum of the Martha Graham Dance Company, now in their 97th season. It all left me wondering if I will live to see the 100th season.

I was not impressed with Canticle for Innocent Comedians when I first saw it a year ago at City Center; but last week, I had a chance to see a studio rehearsal which made me alter my opinion. The choreography is demanding and often quite beautiful. I enjoyed it much more with the dancers in practice clothes; the costumes, while visually striking, seemed to detract from rather than enhance the movement, and they sometimes affect the dancers’ line. Tonight, the music, by pianist Jason Moran, also seemed more captivating than I remembered.

Performed this evening, a suite of excerpts from the work opened with the breath-takingly lyrical duet Moon, choreographed by Martha Graham herself – apparently the only portion of her 1952 the work to have survived more or less intact. Tonight, it was hypnotically danced by So Young An and Jacob Larsen with a gentle sensuality and a feeling of tenderness and trust.

Stars, choreographed by Michaela Taylor, was brilliantly danced by two of Company’s charismatic Italian stars, Marzia Memoli and Alessio Crognale. Their partnering is effortless, and their personalities meld persuasively to illuminate the dance.

The beauteous Ying Xin then appeared for the solo Death/Rebirth, choreographed by Jenn Freeman. This solo is a profound depiction of loneliness, and Ying Xin’s suppleness of movement – and her expressive face – made for a captivating dance experience: paradoxically draining emotionally and uplifting spiritually.

Minutes later, Ying Xin was back onstage, portraying Eve in Graham’s iconic Embattled Garden

At the same rehearsal where Innocent Comedians gave me a second look, Graham’s Embattled Garden had been danced, complete with sets and costumes. The work is always stunning to see, but up close it was simply thrilling. The cast of four must not only be dancers, but also acrobats, actors, and possessed of vibrant personalities.

Tonight, in the theatrical setting, a slightly different cast made a most powerful impression. The Noguchi sets are masterpieces in their own right, and the Carlos Surinach score seemed fresh and vivid. Ying Xin’s Eve is the epitome of feminine grace, and her partner Lloyd Knight’s Adam is magnificent both as a presence and as a mover.

Above, trouble in paradise: Leslie Andrea Williams and Lorenzo Pagano in a Hibbard Nash image

Observing Adam and Eve from his perch in a fanciful Noguchi tree is the Stranger, danced by Lorenzo Pagano; lounging in the shade, fanning herself, is Lilith, danced by Leslie Andrea Williams. These intruders in Eden are hellbent on destroying the happiness of the young couple…just because they can. Aside from the astonishing flair and virtuosity of their dancing, Leslie and Lorenzo communicate volumes with their facial expressions and especially with their ever-observant, knowing eyes. Brilliant!

~ Oberon

April 20, 2023
Graham @ The Joyce ~ 2021 – Program B

Above: Jacob Larsen of the Martha Graham Dance Company in Sir Robert Cohan’s solo Jacob; photo by Melissa Sherwood

Wednesday October 27th, 2021 – The Martha Graham Dance Company is presenting two programs at The Joyce in these final days of October, 2021. I happened to see Program B before seeing Program A.

During the long months of the pandemic, I found myself seriously missing the Graham dancers. Whenever I was down in The Village, I would walk by the Company’s home at 55 Bethune Street on the off-chance of seeing some of them, even though I knew full well that some of them had left the City. I did run into Lorenzo Pagano once, and that truly made my day. Otherwise, my only encounter with any of these fascinating people during the shutdown was via the Company’s webcasts of Immediate Tragedy in June 2020 and the three-part GrahamFest95 in May 2021.

This evening, my ‘reunion’ with the Graham Company was simply spectacular. It’s a company of stars, and they all shone tonight to dazzling effect.

Above: Leslie Andrea Williams in Steps in the Street; photo © Hibbard Nash Photography

The excellent program opened with the powerful Steps in the Street, the second movement of Martha Graham’s epic all-female anti-Facist dancework Chronicle. Set to a vibrant, martial score by Wallingford Riegger, Chronicle premiered at the Guild Theater here in New York City in December of 1936. In her introductory remarks, the Graham Company’s artistic director Janet Eilber called the work “…a dance of determination and resilience.”

Led by the ever-luminous Leslie Andrea Williams, the women back rather hesitantly onto the stage one by one in silence. As the music commences, the choreography becomes complex (both in steps and gestures); it’s extremely demanding, calling for deep dedication and boundless energy. The Graham women were simply magnificent; their individual beauty and power radiated at every moment. These are women I have admired so much in recent years: So Young An, Laurel Dally Smith, Natasha M. Diamond Walker, Marzia Memoli, Anne O’Donnell, Anne Souder, and Xin Ying…watching them flash across the stage in intricate combinations – or simply walking with tremendous dignity and strength – was an exhilarating experience. New to the Company are Devin Loh and Kate Reyes. At the center of it all, the arresting presence of Ms. Williams glowed like a beacon of feminine strength and grace.

Above: Jacob Larsen, photo by Melissa Sherwood

Sir Robert Cohan‘s solo Jacob takes its name from dancer Jacob Larsen; Sir Robert, who passed away in January of this year at the age of 95, created the work on the dancer remotely during the period of pandemic isolation. Set to Nils Frahm’s Hammers, the dance opens with pulsating music as the dancer, clad in dark trousers and a wife-beater tee-shirt, does a run-about the finely-lit space, pausing from time to time in a pose with arms outstretched.

Mr. Larsen’s dancing filled the space with the choreographer’s finely-cratfted movement, his face handsome and expressive. Thrice he collapsed to his knees and then magically executed back-somersaults. Combining energy and artistry expertly, the danseur gave a compelling performance. During the solo’s final moments, danced in silence in the fading light, one could sense the audience’s pent up admiration building; and when the lights came up, Jacob was greeted with a great wave of applause and bravos, so richly deserved. “A star is born!”, I scrawled in my program.

Above: Natasha M. Diamond-Walker and Lloyd Mayor in Untitled (Souvenir); photo by Melissa Sherwood

I was very pleased to see Pam Tanowitz’s Untitled (Souvenir) again. I saw it twice during its premiere performance run in 2019 and had different (but all positive) feelings about it at each viewing. Caroline Shaw’s score was again a key element to my enjoyment of the piece: with elements of Americana, British Baroque, and an echo of hymn “The Lord Is Our Great Shepherd” all brilliantly woven together by the composer. The Graham dancers all looked fabulous in their costumes by Ryan Lobo and Ramon Martin of TOME.

This time around, Untitled (Souvenir) summoned up for me images of an English garden party sometime in the early days of the 20th century, when Art Deco was all the rage in Europe. Anne O’Donnell and Marzia Memoli are onstage for the work’s silent opening; Marzia unfolds into a beautiful arabesque and then the dancing starts: witty, but very much tongue-in-cheek. Other dancers now arrive: Lloyd Mayor, striking in lounging pajamas; the tall beauty Natasha Diamond-Walker; Lloyd Knight hopping on; the distinctive (and glamorously gowned) Xin Ying; Jacob Larsen (looking fresh after his brilliant solo performance); and Laurel Dalley Smith, who I always love to watch.

Everyone strikes poses, frequently ignoring the other guests. I was particularly taken with Natasha Diamond-Walker’s ‘character’: her spotlit, silent solo displayed the many mood shifts of a woman at once alluring and insecure. At one point, she even hid behind a piece of scenery…which is something I would do at a party.

There are duets, fleeting suggestions of romance, a trio of men in the cross-currents of mutual interests. In all, the work is a delight. And again, I must praise Caroline Shaw’s wonderful score, with cunningly accented motifs and a lambent cello solo. Iconic Graham moves and gestures pop up, getting a fresh take in Ms. Tanowitz’s choreography.

Above: Marzia Memoli and Lloyd Kinght in Treading; photo by Melissa Sherwood

Following the interval, Elisa Monte’s duet work, Treading, was stunningly danced by Lloyd Knight and Marzia Memoli. These two gorgeous creatures gave their all in a steamy, intimate pairing which demands great strength and control…and perfect timing. In their sleek body tights, Marzia and Lloyd generated a hothouse atmosphere, holding the audience in rapt attentiveness as their bodies folded and snaked thru the slow partnering motifs.

Lloyd (above, in a Brian Pollock photo) was mesmerizing to behold right from his opening solo…

…and Marzia created incredible shapes (Melissa Sherwood’s photo above), and her lush back-bend was a stunning moment. For me, Marzia’s was another ‘star is born’ performance tonight, and the audience seemed in full agreement.

Above: Marzia and Lloyd in Treading; photo by Melissa Sherwood

Treading drew a huge response from the audience, and Ms. Monte joined the dancers onstage for a bow. Roses and champagne to Marzia and Lloyd for their breathtaking performance!

Above: Anne O’Donnell and Lloyd Mayor in Diversion of Angels; photo by Luis Luque

Diversion of Angels had its premiere at Connecticut College in August of 1948. This ballet is set to a wonderful romantic score by Norman Dello Joio; in it, three couples dance duets reflecting on different aspects of love. A Couple in Red embodies passionate love; a Couple in White, mature love; and a Couple in Yellow, the joys of young, flirtatious love.

Diversion is one of the Graham ballets that places extraordinary demands on all the dancers in the cast. So Young An, Devin Loh, Kate Reyes, and Anne Souder formed a lovely ensemble, their dancing filled with commitment, beauty, and energy. At one point, they are seated on the floor, gazing ardently into the eyes of their cavaliers: a very romantic moment in this ultra-romantic ballet. A newcomer to Graham, Richard Villaverde, made his mark with his handsome presence and deft dancing.

The three couples were splendid, each in their own way. Leslie Andrea Williams, a vision in White, danced like a goddess, and her partner, Alessio Crognale, was equally impressive. Together, they expressed the couple’s deep sense of quiet ecstasy, secure in their mutual love.

Anne O’Donnell looks fetching in Red, and she had the perfect partner in Lloyd Mayor. Their dancing, both individually and in duet passages, was vibrant and wonderfully true to the music. At one point, while Lloyd was elsewhere, Anne seems to be tempting Alessio; that’s the thing about passionate lovers: their passion can get directed in a different direction at the drop of a hat.

Laurel Dalley Smith was like a ray of sunshine in Yellow; Jacob Larsen completed his stellar evening as Laurel’s cavalier. Their choreography includes some daredevil catches and lifts: Laurel flew like a golden bird into Jacob’s arms and was swiftly swept aloft. Brilliant! I just loved watching them, and I must say that Laurel’s performance had the same ‘star-is-born’ feeling as Jacob’s and Marzia’s…the third in a single evening.

And what an evening it was…it stands as one of the great dance performances I have witnessed in the last quarter-century. Although tinged with regret for two ‘missing persons’ – who I hope are both well along on the road to recovery – the evening was made memorable by the unstinting generosity and mind-boggling talent of these unique and extraordinary dancers.

~ Oberon

October 27, 2021