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Pauline Koner Centennial Celebration
On May 17th, 2013, dance lovers and connoisseurs will have a rare opportunity to see the choreography of Pauline Koner. Preeminent Koner expert, Evelyn Shepard, has lovingly and painstakingly reconstructed three important Koner works that will be presented at the 92nd Street Y’s Fridays at Noon series.
Pauline Koner
Dancefusion Company will perform Concertino (1955). The dance takes place in the time of the Renaissance where “a lady and her ladies-in-waiting are first at court” where they present themselves as “elegant, formal, conversational.” Next a solo reveals “the woman behind the elegant façade” and is followed by a lively dance where “the wear and tear of court formality are forgotten.”
Ryoko Kudo and Pablo Francisco Ruvalcaba of the Jose Limon Dance Company will perform Poeme (1962), a ”tender yet provocative” love duet,”influenced by Chagall*, whose women, when transported emotionally, fly in the air or soar upside down.”
“Dance” by Marc Chagall
360 Dance Company will perform The Shining Dark (1956), a trio inspired by the life of Helen Keller. In Pauline’s words: “ I had long been thinking about Helen Keller whose only medium of communication was movement—the manual alphabet…so I dug in and learned the manual alphabet”. The dance is comprised of four sections: “World of Nothingness,” “World of Awakening,” “Panic of Loss,” and “Remembered Image.”
Danelle Morgan in Pauline Koner’s The Shining Dark; photography © Jashiro Dean
While dance maverick Pauline Koner is impossible to categorize, we consider her part of the Humphrey Weidman family. Pauline Koner’s initial dance training was with Michel Fokine. Early on she pursued her own solo career, while also performing extensively with Michio Ito and then Yeichi Nimura. In the mid 1940s, seeking guidance in the choreographic process, she began a long association with Doris Humphrey. Especially memorable for her role as Emilia in Limon’s Moor’s Pavane, Koner was also a guest artist with the Jose Limon Dance Company from 1946-1960.
Jose Limon rehearsing with Pauline Koner
Less known is Koner’s association with Charles Weidman. Inspired by Abner Dean’s** drawings, Pauline became intrigued with creating a satire on “the insanities, complexities and hilarities of living.” As the characters “crystallized”, she naturally thought of Weidman. “I approached Charles with trepidation. After all he was a senior member in the hierarchy of modern dance. Charles accepted and I was thrilled.” Thus, Amorous Adventure was born. Pauline played “A Kind of Wife” and Charles ”A Sort of Husband”, while Lucas Hoving portrayed “Variations from the Norm.” After it’s premiere in 1951, Winthrop Palmer wrote: “Pauline Koner’s Amorous Adventure …was a delightful spoofing of comic eugenics and the battle of the sexes with never a moment of social significance, for which it deserves a gold medal…”
Drawing by Abner Dean
Also a noted teacher, Koner developed her famous course “Elements of Performing.” Her elegantly articulated concepts of breath, suspension, rebound, and weight could easily be part of a primer on Humphrey Weidman technique.
Don’t miss this chance to see Pauline Koner’s artistic creations. Films will be shown in the lobby starting at 11:00 AM, followed by live performance and panel discussion at noon.
Friday May 17, 2013
92nd Street Y Harkness Dance Center
1395 Lexington Avenue, NY, NY
To learn more about the event, visit the 92nd St Y website here.
All quotes from Solitary Song by Pauline Koner, Duke University Press, 1989
Also recommended: Elements of Performance by Pauline Koner, Harwood Academic Publishers, 1993
*Marc Chagall (1887-1985) was a Russian born artist known for his use of many artistic mediums including painting, stage sets, book illustrations, and ceramics to name a few
**Abner Dean (1910 – 1982) was an American cartoonist who often depicted extremes of human behavior
The Easter Oratorio
In 1967, Charles Weidman choreographed Easter Oratorio, a beautifully simplistic and joyous dance that premiered at the Expression of Two Arts Theater in NYC. It featured multiple sections including ensemble numbers and a trio for women all surrounding the topic of rejoicing at the resurrection. In the later part of Weidman’s career, his pieces took on spiritual tones which was unique to his previous genres of choreography. He especially focused on classical music by composers Brahms, Bach, Beethoven and choreographing joyous, grand, exalting movement. His first pursuit in this new tone was Christmas Oratorio to music by Bach created in 1961 followed by Easter Oratorio six years later also to music by Bach.
Tisch School of the Arts dancers performing “Fugue” at the 92nd St Y
Photo by Julie Lemberger
Weidman believed that music and dance were one, and Easter Oratorio is a prime example of how his movement was inspired by the composition of the music. “Fugue”, the opening dance of the Oratorio, features an ensemble of dancers moving in structured sections in time and sequence with the music. A fugue is a compositional structure where a short melody or phrase is taken up by other instruments/voices at sequential, overlapping timings (think of “Row, row, row your boat” sung in a round). Weidman took these overlapping sections and did the same with his choreography; the women start moving with one theme followed by the men taking up the same or different movement overlapping the women to create a beautiful, yet mathematic assembly of elated bodies.
“Fugue”
Photo by Julia Lemberger
Though Charles enjoyed following the structure of the music with his dance, he did so in an interesting way. Margaret O’Sullivan (Foundation Vice-President and Weidman company dancer) reflects on how Charles choreographed to the music in a unexpected way. Instead of starting on the 1 of every six counts, the impetus for the beginning of the phrase was always on the 6, making the movement seem to spurt out and grow in a way the was organic with the music, but simultaneously following its own rhythm and flow. This gives the Fugue the impression of always rolling forward and creates a play between the push and pull of the music and the dancers.
Margaret O’Sullivan in “Branches”
In 2010, the Charles Weidman Dance Foundation partnered with Tisch School of the Arts, NYU to re-stage and perform two sections from the Easter Oratorio. Janet Towner assisted by Margaret O’Sullivan taught the Tisch dancers the “Fugue” and the trio “Branches”. The two performances of these excerpts at the 92nd St Y and at Baryshnikov Arts Center were not only the first instance of Weidman/Bach performed to live music, but also the first time the excerpts had been shown in NYC since Weidman’s death.
Janet Towner working with dancer Michael Gonzalez
Photo by Larry Hall
The trio, “Branches” features three women holding laurel branches and circling around one another in sweeping and jumping movement. Each woman has a solo moment involving the first dancer with one branch, the second soloist with two, and the final woman wielding three branches in the formation of the cross. Each solo also contributes a different mood to the piece, the first stretching and arching on the floor with the single branch pointing to the sky, the second reaching and honoring with arms outstretched in a V shape , and the third swirling and whirling in praise and delight beneath the cross shaped branches.
The third solo moment in “Branches”
Photo by Larry Hall
Elinor Rogosin in The Dancemakers: Conversations with American Choreographers speaks to how “the expression of the joy of the resurrection is the overwhelming mood in the piece” and how as an audience member, you “could have been eavesdropping on someone at prayer”. Rogosin comments on the simplicity of the choreography and the absence of acrobatic movement “creating a refreshing impact of naive expression”. When learning Easter Oratorio, Tisch alumni Elizabeth Montgomery reflects on the technique of the face and chest in order to achieve the look of ecstasy: “I remember Margaret explaining to us the intention of “space in the face;” it should be as though you’re looking past whatever is in the room in front of you, as though you’re looking out into the horizon from someplace very high. Maintaining that energy in an of itself is exhausting. Now add the jumps, hinges, and pivots, and Easter Oratorio becomes one of the most challenging pieces I’ve ever danced, in spite of its choreographic simplicity”.
“Fugue”
Photo by Larry Hall
“Bach’s dramatic intent in the Easter Oratorio is the expression of the joy of the Resurrection. Despite the fringes of melancholy added by the adagio, and by some of the recitatives, the overwhelming mood is one of rejoicing”. -Charles Weidman on a 1971 program
1971 performance of Easter Oratorio
Post by Julia Jurgilewicz
Happy Humphrey Weidman Day!
Today is a very special day! It marks the 85th anniversary of the first presentation of Charles Weidman’s work!
On March 24, 1928, Charles Weidman and Doris Humphrey presented their first concert at the Brooklyn Little Theater (now called the Brooklyn Music School Playhouse). Weidman’s Submerged Cathedral (Cathedrale Engloutie) and Humphrey’s Color Harmony and Air for the G String were among the important works that premiered on the program.
Outside the Brooklyn Little Theater
Color Harmony, considered to be America’s first abstract ballet, was based on the color theory of light. Groups of dancers represented as different primary colors interact and mingle around the stage. Quoted from Doris Humphrey’s notebook, she describes the flow of the dance poetically; “Through the wild colors shoots a silver arrow–it separates the couples–it draws them one by one into form—all the flaming colors are laid down in rhythmic patterns—in a pyramidal form—up high steps to a climax, where a silver streak molds itself into a stream of light that goes up into infinity.”1 Also innovative for its time, Clifford Vaughan composed the music for the work after Humphrey composed the movement.
Craig Gabrian performing Weidman’s Submerged Cathedral
Weidman’s Submerged Cathedral is based on a Breton legend about a cathedral that periodically “rises out of the water. The ringing of the bells and the chanting of the monks are heard—silence when the cathedral sinks back into the sea.”2 In his performance, Weidman “indicated with a truly moving quality the surge of the sea depths, the rising and sinking of the submerged structure, and the tolling of the underwater bells.”3Opening and closing with swirling circular movements contrasted by sharp upward thrusting movements in the middle, the choreography foreshadows Humphrey’s 1931 Two Ecstatic Themes: Circular Descent and Pointed Ascent.
Weidman continued to perform Submerged Cathedral until his death in 1975. In 1993-1994, Peter Hamilton recreated the choreography which has since been performed by Craig Gabrian (pictured above) at the Sylvia & Danny Kaye Playhouse, the Kennedy Center for Performing Arts and the Brooklyn Academy of Music. It has also returned to its first home, the Brooklyn Little Theater, where, in 1996, the Charles Weidman Dance Foundation presented the Brooklyn Music School with a plaque commemorating the first concert. Again in 2003, for the 75th anniversary, the program included Easter Oratorio, Fables for Our Time, Submerged Cathedral and Two Ecstatic Themes.
Carol Mezzacappa, Lee Sherman, Howard Golden, Miriam Cooper at the Brooklyn Music School
The CWDF was thrilled when Brooklyn Borough President Marty Markowitz proclaimed March 24th Humphrey Weidman Day. Celebrate Humphrey Weidman Day today and remember the great modern dance pioneers and all they established for the future modern dancers of the world. Thank you Charles and Doris!
Young Dancers in Repertory with Howard Golden and Carol Mezzacappa at the Brooklyn Music School
The original program from the first Humphrey Weidman Concert
1from Doris Humphrey’s notebook, quoted in Days on Earth, the Dance of Doris Humphrey by Marcia B.Siegel
2from Weidman’s program note, quoted in Reclaiming Charles Weidman by Jonette Lancos
3Soaring by Jane Sherman
Photos at Little Theater by Larry Hall
Words by Nadira Hall
Post by Julia Jurgilewicz
Lynchtown Revisited
“The twisted minds of bigots symbolized by twisted bodies. Dancers doubled up with rage and when the lynch mob finally dragged in its victim, they gathered about his body as if they were vultures.”- The New York Times
This past autumn, our Vice-President, Margaret O’Sullivan, traveled to New Jersey to start working with contemporary company Nimbus Dance Works. Under the direction of Samuel Pott, the company will be performing Weidman’s iconic work, Lynchtown, this winter in their NYC season February 15-17th at the Alvin Ailey Citigroup Theater.
Nimbus dancers in rehearsal for Lynchtown. Photo by PeiJu Chien-Pott.
Lynchtown was first performed in 1936 as the final section of Weidman’s trio suite Atavisms along side Bargain Counter and Stock Exchange. Lynchtown depits the excitement and horror of a lynching that Charles witnessed as a child. Unlike his previous and widely enjoyed comedic works, Lynchtown drew on a darker tone and “because Weidman was generally comic, his grave works had an anger and force that strengthened the sardonic, sometimes macabre dancing”. (American Modern Dancers: The Pioneers)
Because of it’s alarmingly honest essence, universal reach, and timeless topic, performances of Lynchtown have surfaced throughout the years. Most recently, Montclair State University dancers performed Weidman’s Lynchtown accompanied by live percussionists and clarinetist in a bill paired with Weidman’s Brahms Waltzes at the 92nd St Y in April 2011. Lynchtown was also shown in 1994 at the Humphrey-Weidman Gala: Dances from Their Years Together and in 1993 at SUNY Purchase and in Taiwan, China.
photo by Mike Peters. Montclair State University, 2011
When asked about re-staging Lynchtown, Margaret O’Sullivan commented that “the hardest part for dancers is allowing themselves to really indulge and enjoy the grotesque and focus on the event. The dancers never face or look at the audience and it is very into the ground in very deep, deep plies.” She compares the movement to that of animals and recalls that in her first Lynchtown rehearsal as a dancer, Charles told them to be more “lascivious” with their movement.
Photo of Lynchtown with Margaret O’Sullivan (furthest left)
One of the benefits and treats of learning Weidman dances from Margaret is the refreshingly “old” method of learning everything from memory. Nowadays, dancers develop and hone their skills in reversing movement learnt from a computer screen. Nimbus dancer Elena Valls expressed how in this Weidman Foundation/Nimbus collaboration, the dancers “did not learn anything from a video; it was all [Margaret’s] memory and from watching her do the movement. That made it way more enjoyable. She noticed the smallest details, like the Humphrey foot (which we call the Barbie foot), the tension in the hands and neck, and how your eyes really tell the story.”.
Nimbus Dance Works dancers in rehearsal. Photo by PeiJu Chien-Pott.
The company will be performing Lynchtown in their NYC season on February 15-17th at the Alvin Ailey Citigroup Theater. Director Sam Pott has plans to create a new work based off similar ideas and themes addressed in Weidman’s Lynchtown. Nimbus’s future plans involve traveling to New Jersey schools to show Weidman’s iconic work and have the children create their own versions of Weidman’s dance based on ideas of intolerance and hate.
For more information on the Nimbus Dance Works NYC performance, visit their website here.
Sources: Olga Maynard. American Modern Dancers The Pioneers. Copyright 1965.
Lynchtown quote taken from myloc.gov.
Post by Julia Jurgilewicz
Study in Contrast
“To me one of the most valuable assets in dance composition is the formula of contrast. In painting, this formula is used in the contrasts of darks against lights, of cool colors against warm ones, of plain surfaces against highly decorative ones. In movement this is done with contrasting a soft movement against a hard, moving the body or body parts from a closed contracted position to an explosive one, or moving vertically to horizontally.”
– Charles Weidman
On February 1st, modern dance soloist, Jennifer Conley, will be performing ‘Study in Contrast’ as part of the 92nd Street Y’s Fridays at Noon series. She will be accompanied by the incomparable Pat Daugherty on piano. This will be Study in Contrast’s first solo concert performance.
Jennifer Conley performing En Dolor choregraphed by Ethel Winter
In the early 1930s, Weidman created ‘Study in Contrast’ as a way to teach principles of dance composition. It concisely shows contrasts between:
sustained and sharp movements,
bent, curved and straight lines,
symmetry and asymmetry,
vertical and horizontal,
drawing inward and expanding outward,
the body being pulled off center/equilibrium and returning to center,
internal and external rotation,
“parallelisms” and “oppositions.”
Composed in ABA form, the study contains myriad variations of the initially stated “bent limb” theme which recurs in an extraordinary variety of angles and rotations. As the body responds to lateral and spiral forces, the dancer is eventually swept from his/her fixed position in space and then finally returns to equilibrium and stability.
Carol Mezzacappa & Craig Gabrian performing Study in Contrast at a lecture demonstration at Hunter College 1994
Early on, Weidman presented lecture demonstrations devoted to the basics of choreography. Initially they were part of the lecture demonstrations that he and Doris Humphrey began in 1929. Then, starting in 1935, Weidman and his Men’s Group presented lecture demonstrations devoted entirely to composition studies. ‘Study in Contrast’ dates from this period. First performed by the Men’s Group, ‘Study in Contrast’ was later incorporated into Weidman’s technique demonstrations which he continued to present throughout his career.
Jennifer Conley performing En Dolor choregraphed by Ethel Winter
Jennifer Conley is a former member of the Martha Graham Dance Company and Pearl Lang Dance Theatre. As a soloist, she has performed the work of modern dance luminaries Martha Graham, Charles Weidman, Jane Dudley, Ethel Winter, Yuriko, and Stuart Hodes. She has received commissions to choreograph original GeoDance repertory on university dance programs across the country and has also staged her work in New York City venues such as HERE, Merce Cunningham Studios, and Lark Theatre. As a regisseur with the Martha Graham Dance Center, Jennifer has staged ten productions of Martha Graham’s ballets in the United States and United Kingdom. She has served on faculty at Laban, Brown University, Franklin and Marshall College, Temple University, and the Martha Graham School of Contemporary Dance. She holds an MFA in Dance from New York University’s Tisch School of the Arts and is a Doctoral Candidate at Temple University.
For more information on the February 1st performance, visit the 92nd St Y website here: http://www.92y.org/tickets/production.aspx?performanceNumber=87759&source=8587
Words by Nadira Hall
Post by Julia Jurgilewicz
Carry On Newsletters 88-91
If you’re reading this, you already know and love our blog, but did you know the name “Carry On…” comes from the Foundation’s newsletters that used to be sent to our Weidman followers? Here are a few copies of Carry On, the original way of getting our news out to Weidman enthusiasts.
Featuring the welcoming of Margaret O’Sullivan , the foundation’s now acting President, to the board of directors! Time flies when you’re reconstructing Weidman dances!
Announcing the completion and first screening of the documentary Charles Weidman: On His Own! Order your copy of the documentary here!
Updates on the major projects we worked on in 1991, including the preservation through the teaching, filming, and recording in Labanotation of Weidman’s “On my Mother’s Side” and “David and Goliath”.
Enjoy these gems of Weidman history!
Opus 51 in 2012
Last Spring, Margaret O’Sullivan worked with dancers at Montclair State University to stage the Opening Dance of Weidman’s fifty-first creation Opus 51. The process culminated in showings at the University as well as a Friday’s at Noon performance at the 92nd St Y. In May, Margaret worked with a handful of NYC dancers to teach a technique class and some of the Opus 51 Opening Dance. With so many of today’s modern dancers taking a turn at Opus 51, it’s time to give some background information on the piece!
Opus 51 was first performed on August 6, 1938 to music by Vivian Fine (also entitled Opus 51). The performance was held in the Vermont State Armory in Bennington, VT. Costumes were created by Pauline Lawrence, a former Denishawn alumnus who worked for many years with Weidman and Humphrey as an accompanist, costume and lighting designer. During the time Charles created Opus 51, modern dance had not been focusing on what we like to call “movement for movement’s sake” dancing and Charles decided to go ahead and do just that. He created Opus solely on the principle of finding elation and enjoyment in the movement. The Opening Dance was created on five women clad in long green skirts swinging their limbs in attitude positions while crossing through each other. Like all Weidman dances, the movement is incredibly musical, following the swing and accents of Fine’s music with traditional modern dance shapes.
NYC dancers Liz Montgomery, Brighid Greene, Phoebe Sanford, Sarah Hillmon, and Michael Gonzales- Cameron rehearsing Opus 51
Photo by Julia Jurgilewicz
Following the Opening Dance, men and women came together to perform the next section”Commedia”. While Weidman often formed his dancers into characters, this section focused on the exaggeration of movement performed by each character, for example “there were gestures drawn from … daily tasks of sweeping and gardening all linked together in a blizzard of movement that did not attempt to tell a history but just to present kinetically related gestures” (Don McDonagh The Complete Guide to Modern Dance 1976).
After an interlude of bizarre Mazurkas performed by men and women, the finale “Spectacle” culminates in a circus-like performance of understated gestures and modest bows. After all this miming and unexpected grotesque movement, the Opening Dance seems out of place with its normalcy, leading one to believe that he set the stage with a conventional modern dance to make his audience feel comfortable before exposing them to his crazy collection of pantomiming oddities.
Opus 51 exemplifies Weidman’s new take on what modern dance could be as well as introducing us to his incredible use of “kinetic pantomime”. Kinetic pantomime left representational miming behind by taking normal, human gestures and continuing them throughout the rest of the body. “He simply followed the trajectory of a gesture as it metamorphosed into a whole skein of movement that suggested bits and fragments of characterization as it progressed but did not tarry or linger over any” (McDonagh 112). In the video documentary “Charles Weidman On his Own”, Charles is shown teaching a group of dancers kinetic pantomime. They start with “picking strawberries” to the left and right of themselves and then suddenly switch to sitting, legs splayed playing a violent game of jacks. In retrospect, Weidman’s kinetic movement is what contemporary and theater dance is leaning towards in today’s dance world; spontaneity, unpredictability, character play, and enough normal or pedestrian movement to be recognizable to audiences.
Charles Weidman
After learning and performing the Opening Dance, I asked MSU dancer Marissa Lynne Aucoin about her experience with Weidman repertory. After expressing her enthusiasm with learning the dance and the challenges of Weidman technique I asked her the million dollar question: “Is it important to continue the teaching of Weidman technique to today’s dancers and if so, why?” to which she responded “clearly I am very adamant about the continued teaching of Weidman technique. It is such an integral part of the history of modern dance and holds a direct relation to many of the principals used by choreographers today. Continued teaching not only ensures that Weidman’s technique and repertory are preserved but provides moderns dancers with a stronger technical foundation and more humanistic approach towards movement.”
Marissa Aucoin performing Opening Dance of Opus 51 at MSU
What surprised and thrilled me about studying Weidman’s Opus 51 is how similar it is to the work I want to both dance and create: mixing character studies with strong technique; however, what made we want to applaud Charles myself was that it’s creation created controversy and discussion. Among his odd caricatures of “Commedia”, he also threw in some mocking of what American Modern Dance was at the time which was applauded by some and looked down on by others. “Opus 51 caused a controversy between one faction who took it as an insult and another which delighted in this ribbing of Modern Dance, but it …restored the American contemporary dance to its original exuberance– the joyous rebellion rather than the propaganda tool” ( Olga Maynard American Modern Dancers: The Pioneers 1965).
It goes without saying that Opus 51 is relevant and relate-able to the modern dance we see today, and that it did what most contemporary choreographers strive for: to surprise it’s audience and spark them into discussion. Thumbs up Mr. Weidman. The fifty-first one is apparently the charm.
MSU Dancers performing Opening Dance from Opus 51
Photo by Mike Peters
References:
American Modern Dancers: The Pioneers by Olga Maynard, 1965 (New York Library for the Performing Arts)
The Complete Guide to Modern Dance by Don McDonagh, 1976
To purchase the video documentary “Charles Weidman On his Own” go to http://www.dancehorizons.com.
Post by Julia Jurgilewicz
Review of Mary Anthony Dance Theater Showing by Board Member Thomas McNally
The CWDF Board of Directors is comprised of Weidman alumni from various moments on the timeline of the Weidman legacy. One of our beloved members, Thomas McNally, has built quite the resume in his years involved in the modern dance, art, and culture scene. In addition to performing with the Humphrey Weidman Group in the early 1930’s, he has been an accompanist for Martha Graham, Erick Hawkins, Jose Limon, May O’Donnell, and at the Humphrey Weidman studio. In recent years he has taught music at LaGuardia Community College and the Brooklyn School of Music, played organ at Lower East Side Trinity Church, sung with with the Collegiate Chorale, and participated in poetry readings.
Board Members Margaret O’Sullivan and Thomas McNally May 1, 1994 at the Humphrey-Weidman Gala at the Sylvia & Danny Kaye Playhouse. Photo by Larry Hall.
This past June, Tom saw the reconstruction of Charles Weidman’s Fables for our Time performed in the Mary Anthony Dance Theater Studio Showing. This is what he saw.
A Review of Mary Anthony Dance Theater Studio Recital
June 23, 2012
On a recent June evening of an unseasonal New York City hot spell, a recital in Mary Anthony’s studio confirmed the vitality of Charles Weidman’s unique endowment as dancer and mime. There were even echoes of the Denishawn tradition that spawned the establishment in New York City of his choreographic style along with that of his partner, Doris Humphrey and the revolutionary technique and performance of their fellow at Denishawn, the incomparable Martha Graham.
The program opened unconventionally with Alexandra Len’s Where the Light, with emphasis on the “where” of the title for before dancing in the dark, Miss Len distributed miniature flashlights to the audience who not only participated in the performance, but defined the dance at whim. Within the first half of the program, there were two echoes of Denishawn. The first was a piece called Dual, implying duet, by Amelia Dawe Sanders to music of Philip Glass. The Denishawn feature was a bolt of scarlet cloth in which the two principal dancers were at times separately enwound. Occasionally free of the cloth and tussling to claim it, the piece echoed the famous Soaring of Doris Humphrey- her opus involved a large square of colored fabric as a constraint in a charming dance for a quartet of females.
This dramatic Dual was followed by two excellent solos, each danced expertly. Incident, danced and choreographed by Delia Cadman to the music of David Lang, was economical and intense like all effective modern solos and commanded the audience’s attention. The equally fine and effective solo which followed was entitled Soft Shock by choreographer Emma Lee and danced by her to the music of the Yeah Yeah Yeahs.
Following these solos in the first half of the program were two small group dances. Cross Currents, choreographed by Lina Dahbour to an extended piece by Beethoven, was the second echo of Denishawn, acknowledging composition with props. The props consisted of several pieces of wood placed on stage before the dance began. In the course of the dance, any of these props were picked up by one of the three dancers and disposed of choreographically. Finally, one dancer left alone on stage incorporated a number of the props, acquiring them and then freeing herself while dancing. Perhaps this movement came from a study in abstraction? Speaking of abstraction, the second of these group dances, I Would (excerpts) choreographed by Rachel Cohen, exploited every conceivable movement of the five dancers on stage. Considering the elaborate vocabulary, one would like to see the complete work of which this was a selection.
Performed Saturday night were three of the four programmed 1947 Fables for our Time, inspired by James Thurber’s similarly titled collection and choreographed by who else–the outstanding, preeminent genius, the American mime and dancer, Charles Weidman. The music was by Freda Miller, the narration by Kian Ross and Mary Anthony, costumes by ex-Denishawn dancer and pianist, Humphrey-Weidman moral support, spouse of Jose Limon- Pauline Lawrence.
“The Unicorn” featured Jennifer Deckert as the wife, Andre Megerdichian moving lyrically in a fine approximation of Charles’ role as the Husband, Mary Staub as the Psychiatrist and our own Craig Gabrian as the Policeman. In “The Moth and the Star” Daniel Lupo played the young Moth and Fred Timm the Old Moth. In” The Courtship of Arthur and Al”, a jarring production for 1947, the Pretty Little Beaver was Rachel Cohen, Arthur was portrayed by Fred Timm and Al’s Playmates were Eva Hansson, Olga Mikhaviova, and Stephanie Van Dooren. The role of Al was danced very well by one of the tallest (is not the tallest) of male modern dancers Pascal Rekoert, doubling as videographer for the night. On this occasion the spirit of Charles was alive and one could almost see him, wearing handsome, formal, 19th century garb and hear him chanting his hail and farewell “Carry On!”
Fables for Our Time 1947
The last piece of the evening was a delightful surprise- a reconstruction choreographed by our presiding hostess, Mary Anthony. It was entitled Lady Macbeth, to music of Debussy and danced by Mary Ford who, for herself and the applauding audience, profusely acknowledged the choreographer. All these years, Mary Anthony has been working to preserve the tradition of early modern dance in our capital of much modernity in the arts. All the performances of the night were excellent and contributed to the glimpse of Charles’ characteristic deft and penetrating evocation in miming and dance. Thank you Mary Anthony!
-Thomas McNally
Interested in reading James Thurber’s “Fables for our Time”? Browse here.
To find out more about Mary Anthony Dance Theater you can visit the website here.
Post by Julia Jurgilewicz
Happy Birthday Charles!
July 22, 2012 marks the 111th birthday of Charles Weidman.!!!
Carry On…
Carry On is designed to continue the eductation of historical modern dance, centered around Charles Weidman’s influence and relevance in the dance world today!
Charles Weidman Dance Foundation 