BWW Reviews: Martha Graham Dance Company Mixes Old and New Flavors

Watching a notable prolific choreographer's company perform two of her historic masterpieces is always a treat. Even more flavorful is when these pieces surround the main course of a world premiere created by a new star in the dance world. Judging from the packed house's resounding applause, it will go down in the minds of many as a decadent meal of modern dance.

Recently New York City Center welcomed back to its grand stage the Martha Graham Dance Company. This was another high profile appearance that was almost in jeopardy due to Superstorm Sandy's destruction of its sets and previously well preserved costumes. The production, Myth and Transformation, not only brought back a Graham classic but also a premiere by Nacho Duato.

Nacho Duato's piece--only five weeks old--was thrilling to see alongside Graham's legendary works "Appalachian Spring" and "The Rite of Spring". Despite its modernity, "Depak Ine" clearly employs the Graham technique just in a new vernacular. All three pieces call upon universal emotions while bringing the audience to distinct times and places: the pioneer's promising American West, a future world of uninhibited creatures and a Russian village in the distant past.

"Appalachian Spring" began the program on a promising note as the audience was drawn in by the gracious and hopeful bride, Mariya Dashkina Maddux, and the steadfast husbandman, Lloyd Mayor. Their dedication to each other and the potential of a greater future in the American West can be translated across time to fit any context. The peculiar gestures at work in this piece do not make it inaccessible but rather suggest that these characters are simply speaking in a different language. These stylized motions were most clearly spoken by the preacher, played by Maurizio Nardi who, after 12 years with the company, will be leaving to pursue other ventures. The standing ovation he received, as well as the bouquet immediately gifted to him by Dashkina Maddux, shows that his resolute manner and charisma will be missed.

After an expectedly enjoyable piece, Nacho Duato's "Depak Ine" brings a punch of flavor to the evening. The dancers are physically in command as they distort their bodies in insectile ways and forcefully drag one another around the space. The frequent and increasingly frantic entrances and exits of six dancers add to the drama. A single ominous body lies face down in a downstage corner.

Once the first three male/female couples conclude and the stage is empty with only the stark lights, a face down unheeded creature begins to wither in its spot and uninhibitedly thrashes around the stage. PeiJu Chien-Pott generously articulated this solo that combines the most inventive choreography in a whirlwind of fast paced, angular distortions. Suddenly three men in all black emerge to join her. Their combined role is ambiguous; in one minute they protect her and in another restrain her movement.

As the second section concludes, the piece returns to its opening moments as this lone creature goes back to its spot. Once again six dancers rush in to feverishly partner one another until the most ominous man pulls fabric over his head and backs away slowly. The final moments allude to the notion that the story has not ended. Instead, the audience's privileged access to this world has been taken away.

The menacing mood continues with the final work, a gift from Graham in her later years. Choreographing "The Rite of Spring" to Stravinsky's challenging score is almost a rite of passage for choreographers of the 20th century, however, few have the sensitivity to music and drama seen in Graham's 1984 version. Her dancers are wrought with powerful emotions as The Chosen One is frantically pleading for a way to slip from the grasp of the all-powerful Shaman, danced by Ben Schultz. His force overpowers The Chosen One and also strikes fear and obedience in the rest of the tribe. No one questions his random choice of a sacrificial virgin. Sitting in the audience was painful when she uncontrollably shook with fear as he deliberately constrained her with a thick rope. Once again Graham uses a distant land to show that the most basic emotions are understood despite time or space.

City Center served a feast for both the eyes and ears Saturday night. Knowing that Artistic Director Janet Eilber continues to push the boundaries of the company and move it forward makes this engagement all the more exciting. Graham's work and company are staples in modern dance history, but it does not need to remain forever in the past. Showcasing these talented dancers in new, progressive choreography is refreshing. The physicality, sharpness and vulnerability that is so easily displayed by these dancers should be harnessed for all its worth.

Photo Credit: Costas

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