Above: Natasha M. Diamond-Walker performing Martha Graham's Spectre-1914 recently at The Guggenheim. Photo by Christopher Jones.
Friday April 30th, 2021 - The Martha Graham Dance Company, celebrating their 95th anniversary with GrahamFest95, a 3-part virtual gala. This evening's program, entitled The EVE Project, brought us four of the Company's extraordinary female dancers appearing in Graham solo works, followed by the charismatic duo of Charlotte Landreau and Lloyd Knight dancing Elisa Monte's Treading.
After we were greeted by the Graham Company's Artistic Director, Janet Eilber, the dancing commenced with Graham's Deep Song, performed by Leslie Andrea Williams (above in a Melissa Sherwood photo). This 1937 solo was Martha Graham's response to the horrific headlines during the period of the Spanish civil war. It is set to a score for prepared piano by Henry Cowell.
In this, and in each of the four Graham solos on today's program, we see the dancer in an iconic costume that immediately identifies it as "Graham". Clad in Deep Song's striking black-and-white gown, Leslie Andrea Williams danced with striking authority. As the woman struggles with her inner torment, she seems alternately commanding and fearful. The simple bench on which she is seated at the start later becomes a shield, a hiding place...or a coffin. Ms. Williams' performance moved me to tears - partly by its sheer beauty and partly because I could not be there to applaud and congratulate her.
Anne Souder then took the stage for Graham's Immediate Tragedy (photo above by Melissa Sherwood), a solo which is a sort of companion piece to Deep Song: both works sprang from Martha Graham's despair over the Spanish civil war. Again the music is by Henry Cowell, and again the simple the costume of a black skirt and white top is the same as Martha wore at the premiere. Here the prepared piano has the sonic effect of a dulcimer; the music has a tinge of Spanish flavour. And the costume has its own intriguing subtlety: the skirt is lined in red...the colour of blood, and a visual echo of the stunning costume seen in the 1936 piece Spectre-1914, which would follow on today's program.
Anne Souder's dancing always finds the perfect balance between vigor and lyricism; her pliant physique responds to the music so naturally, making her always a joy to watch. She fills the space with achingly beautiful movement, alive with feminine energy, and momentary close-ups of her face made me think wistfully of the times I have watched her in the studio...something I have truly missed during the long months of the pandemic. At the end of her solo, I found myself spontaneously applauding.
In a marriage of art and dance, Mary Heilman's colors created a dazzling setting for Xin Ying's appearance in Satyric Festival Song. This quirky Graham piece was created in 1932; it disappeared for many years before Diane Grey and Janet Eilber brought forth a re-construction in 1994.
Speaking of iconic costumes, the long stretchy shift in black-green-yellow stripes for this solo simply screams "Graham!"; and Xin Ying wears it so very well. The dancer caught all the wit and sparkle of the choreography to perfection, her long hair playing its own part in the presentation. The Heilman virtual blasts of color were eye-popping, whilst the fluteful score by Imre Weisshaus tickled the ear.
Xin Ying's dancing, and the quizzical charm of her facial expressions - aligned with the glow of the Heilman artwork - made for a visual treat.
In the fascinating Spectre-1914 - the work that gave me my "Graham Revelation" in 2012 - the majestic Natasha M. Diamond Walker (photo above by Melissa Sherwood) gave a riveting performance.
As the lights came up on the dancer, seated in utter stillness, a great feeling of anticipation swept thru me. And then she rose, reaching heavenward, and began to move. A stunning développé was but one memorable moment in this demanding solo, in which everything I love about Natasha came into play: her striking features, magnificent hair, hypnotic port de bras, and the nuanced expressiveness of her hands all combined to mesmerizing effect. As the lights faded, I found myself wishing the solo could go on and on.
Prior to the final work on today's program - Elisa Monte's Treading - Ms. Monte and Janet Eilber talked of their experiences of dancing for Martha. Ms. Monte told of how an injury that side-lined from dancing brought about an invitation from Ms. Graham to try her hand at choreography. The result was Treading, which she said was inspired by the eternal questions: "Why do we need love?" and "Why do we fall in love?"
Treading brought together Charlotte Landreau and Lloyd Knight (above in a Melissa Sherwood photo). To an animated Steve Reich score, the duet opens with the sleekly-costumed Lloyd Knight kneeling; his poses and gestures - moving slowly to fast music - call for great control.
As if from out of nowhere, Lloyd suddenly draws Charlotte Landreau forward; the French beauty, her hair in a tight, pinned-up braid, exudes an air of mystery in her solo passage. Lloyd joins her for a duet in which she perches on his back. They entwine, folding into one another, and Charlotte displays a luxuriant backbend. These two gorgeous creatures brought Treading - a surprisingly darkish work - to vibrant life.
~ Oberon