The MARTHA GRAHAM DANCE COMPANY has been a world leader in the development of contemporary dance since its founding in 1926. Today, the company is embracing a new programming vision that showcases masterpieces by Graham alongside newly commissioned works by contemporary artists. During its 90-year history, the company has received acclaim from audiences and critics in more than 50 countries.
"These men and women easily embody the choreographer’s sense of dancers as angelic athletes,” says Robert Greskovic of The Wall Street Journal, while Marina Kennedy of Broadway World notes, “This is contemporary dance at its very best.” Siobhan Burke of The New York Times asks, “Can this please never go away?”
MARTHA GRAHAM DANCE COMPANY
October 1, 2017, 7:00 pm at the Wortham Center's Cullen Theater
Event date: 10/1/2017 7:00 PM Add to iCalendar
Presented by The Indo-American Association
Martha Graham’s influence on dance has been compared with the influence of Picasso on modern visual arts, the influence of Stravinsky on music, and the influence of Frank Lloyd Wright on architecture. IAA is honored to bring this iconic American dance company to Houston. The repertory will include: Dark Meadow Suite (Graham 1946- poetic, gorgeous); Ekstasis (Reinvention of Graham solo from 1933); Lamentation Variations (Variations on Graham’s iconic solo); Errand into the Maze (Duet from 1946 based on the myth of Theseus and Minotaur); Woodland (Work by Pontus Lidberg that premiered in 2016- playful and athletic).
The unparalleled Martha Graham Dance Company returns to the Festival in a program featuring Graham classics and new work created for the legendary company. The program will also present a world premiere Lamentation Variation created by Lil Buck in his first commission for a major dance company.
Dark Meadow Suite
Music: Carlos Chavez
Choreography by Martha Graham
Music: Zoltán Kodály
Choreography by Martha Graham
Performed by Carla Körbes
Lamentation Variation* (World Premiere)
Music: George Crumb, Frédéric Chopin
Choreography by Lil Buck, Aszure Barton, Larry Keigwin
Music: Lehman Engel reimagined by Ramon Humet
Choreography by Martha Graham reimagined by Virginie Mécène
Satyric Festival Song
Music: Fernando Palacios
Choreography by Martha Graham reimagined by Michelle Dorrance with Janet Eilber
Performed by Michelle Dorrance
Music: Irving Fine
Choreography by Pontus Lidberg
*Artistic Director Janet Eilber conceived of Lamentation Variations in 2007 to commemorate the anniversary of 9/11, giving choreographers the opportunity to create new interpretations of Graham’s iconic solo, Lamentation. Although the series was envisioned as a one-time performance, the audience reception was so positive that it has been added to the repertory of the Martha Graham Dance Company.
Martha Graham (Pittsburgh, 1894 – New York, 1991) was an American dancer and choreographer, whose influence on modern dance is equivalent to that of Picasso in the world of visual arts, or Stravinsky in music. In 1998, TIME magazine named her ‘Dancer of the Century’. Great performers such as Bette Davis, Kirk Douglas, Madonna, Liza Minelli and Gregory Peck learned from her how to use the body as an instrument for expression.
In 1926, Graham founded the Martha Graham Dance Company, achieving fame for her innovations in modern dance. It was and still is a leading company in contemporary dance, since its foundation, receiving applause in over 50 countries and performing at the finest venues, event by the Pyramids in Egypt, and the ancient Herodes Atticus Theatre at the Acropolis in Athens. Today, the Martha Graham Dance Company continues to give powerful performances of the masterpieces created by its founder, together with others by contemporary artists.
Martha Graham holds a place next to Picasso as one of the greatest innovators of the 20th century. She not only transformed dance, she commissioned some of the most important orchestral and chamber music works of her time. In a rare one-time performance, the company will perform with live musical accompaniment. Christopher Rountree will lead the music ensemble wild Up in this extraordinary collaboration.
Martha Graham’s Panorama (1935)
VPAC is proud to partner with the Martha Graham Dance Company to create the opening piece. Panorama uses numbers and geometric design to drive home Graham’s intense socio-political themes, with a score by Norman Lloyd.
VPAC is bringing together CSUN, CSUN Alumni, select high school and other community dancers to perform the 10-minute piece that will open the performance Martha Graham and American Music. This experience will be the first of its kind at VPAC and will certainly create lasting impact for all the student artists involved.
About wild Up
wild Up is the ultimately flexible, go anywhere, play anything modern music collective led by Artistic Director/Conductor Christopher Rountree. Their programs reflect the emerging cultural leadership of a generation. Lines are blurred, rules are broken, concerts become events, events become enduring memories. In a single engagement, wild Up creates a theatrical and musical context where the greatest musicians on the scene today become an orchestra that celebrates tradition while reshaping it. In a single evening the audience may celebrate Erick Satie, Ted Hearne, John Lennon, Alexander Scriabin, Chris Cerrone, Velvet Underground, Steve Reich, Andrew McIntosh, Jen Hill, Nina C. Young and on and on and on…
Now celebrating 90 years, the world-renowned Martha Graham Dance Company returns with an extraordinary program combining Graham masterworks with new pieces by today’s outstanding choreographers, inspired by Martha Graham’s genius. Our program is scheduled to feature Martha Graham’s 1948 joyous and lyrical masterwork Diversion of Angels.
Recognized as one of the greatest artists of the 20th century, Martha Graham founded her company in 1926. Graham forever altered the scope of dance by creating her own movement language and influencing generations of choreographers and dancers. The Martha Graham Dance Company continues to perform works by Martha Graham as well as new works inspired by Martha Graham’s legacy. Diversion of Angels, which premiered in 1948, features three couples, each representing an aspect of love.
∙ In 1926 Martha Graham founded Martha Graham Dance Company, which is based in New York City.
∙ Martha Graham is recognized as one of the greatest artists of the 20th century. Graham created a movement language based upon the expressive capacity of the human body. She has influenced generations of choreographers and dancers including Merce Cunningham, Paul Taylor, and Twyla Tharp.
∙ Janet Eilber was a previous principal dancer for Martha Graham and has been the Artistic Director of the company since 2005. She has focused on creating new forms of audience access to the Graham masterworks, through initiatives that include designing contextual programming, educational and community partnerships, use of new media, commissions and creative events.
∙ The Martha Graham Dance Company continues to perform works by Martha Graham as well as new works inspired by Martha Graham legacy.
∙ Styles of Dance: Graham Technique, Modern, Contemporary
∙ Diversion of Angels features three couples, the 3 women are in different colors, and the three men/corps de ballet are all in beige. Martha Graham once described Diversion of Angels as three aspects of love; the white couple represents mature love in perfect balance; red, erotic love; and yellow, adolescent love.
∙ Diversion of Angels premiered in 1948 under the title Wilderness Stair. The original title came from a poem by Ben Bellit.
∙ Graham’s groundbreaking style grew from her experimentation with the elemental movements of contraction and release.
∙ Martha Graham and her Company have expanded contemporary dance’s vocabulary of movement and forever altered the scope of the art form by rooting works in contemporary social, political, psychological, and sexual contexts, deepening their impact and resonance.
∙ Fun Fact: Artists of all genres were eager to study and work with Graham—she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minelli, Gregory Peck, Tony Randall, Eli Wallach, Anne Jackson, and Joanne Woodward to utilize their bodies as expressive instruments.
As the oldest modern dance company in America, Martha Graham Dance Company pioneers a uniquely American style of dance that captivates audiences and inspires generations. The group's passionate performances and innovative style radically changed the trajectory of dance. Founder Martha Graham was known for creating movement rooted in social and psychological ideas and this innovative company continues to embody her groundbreaking spirit of ingenuity. The program features Martha Graham’s Clytemnestra Act 2 in her trademark, highly dramatic style immediately followed by her final work, Maple Leaf Rag in which she pokes fun at her own ultra dramatic works such as Clytemnestra. The company will also perform two Center for the Arts debuts, including Dark Meadow Suite and a new work set to beautiful Middle Eastern music. The group has performed in the most famous venues around the world from the Metropolitan Opera, Carnegie Hall, and the John F. Kennedy Center for the Performing Arts, to the Great Pyramids in Egypt, the Paris Opera House, and in the ancient Herod Atticus Theatre on the Acropolis in Athens. Experience first-hand the revolutionary dance that wows audiences around the world
Recognized as one of the greatest artists of the 20th century, Martha Graham created a movement language celebrating the expressive capacity of the human body.
This show will showcase masterpieces by Graham alongside newly commissioned works by contemporary artists inspired by Graham’s legacy. Graham’s groundbreaking style grew from her experimentation with elements of contraction and release. Her Company lives on, having expanded contemporary dance’s vocabulary and forever altering the scope of the art form. By rooting works in contemporary social, political, psychological, and sexual contexts, Graham deepened their impact and resonance.
“One of the great companies of the world.” – The New York Times
Hailed for its commitment to the leading edge of modern dance, the Martha Graham Dance Company performs adventurous new works created by some of today’s top dance-makers side by side with the most profound and influential choreography by Martha Graham. Often compared with Pablo Picasso, Igor Stravinsky and Coco Chanel, this revolutionary artist is an icon of 20th-century modernism. The Company embodies her uniquely American style of dance, which has influenced generations of artists and captivated audiences worldwide.
This program features a CPA Commissioned Work by choreographer Sidi Larbi Cherkaoui inspired by Sufi poetry and accompanied by Turkish traditional music, in connection with Sacred/Secular: A Sufi Journey.
On March 3, SAAM hosted the Martha Graham Dance Company for two performances of Cave of the Heart. Over the course of half a century, Noguchi and Graham closely collaborated on numerous set designs for her groundbreaking modern dances. They held each other in the highest regard—Noguchi once said, "I felt that I was an extension of Martha and that she was an extension of me," while Graham described sharing "an unspoken language" with the sculptor.
Graham's Cave of the Heart premiered in 1946 and retells the ancient Greek myth of Medea, a sorceress who is consumed by jealousy when her husband Jason abandons her and their children to marry the Princess of Corinth for political gains. Graham's dance distills the story of the absolute destructive powers of jealousy in the movements of four dancers: Medea, Jason, the Chorus, and the ill-fated princess. Noguchi's spare and elegant set design is well suited to Graham's choreography. His row of flat stones represents the Greek archipelago across which Jason leaps in his ambitions to consolidate his power through conquest. A large grey form at the back of the stage, Noguchi's abstraction of a human aorta, serves as an emotive home base for the Chorus, who is omniscient but powerless to stop the unfurling tragedy. The unequivocal star of the stage is Medea, the role originally played by Graham for whom Noguchi created Spider Dress that sits on his Serpent, both of which are on view in the Noguchi exhibition.
Throughout most of the dance the Spider Dress stands majestically at the front of the stage, as still as a sentinel. But as the performance draws to a close, Medea slides into the cage-like brass dress and dances, reveling in her evil deeds: the murder of the Princess and her own children. Noguchi dubbed his sculpture a "dress of transformation" while Graham called it "a chariot of flames" that carries Medea back to her father, the Sun. Noguchi admired how Graham used his sculptures "as extensions of her own anatomy," but the Spider Dress seems to come alive as if it were a fifth character. Even after the dancers leave the Spider Dress behind as they take their final bows, the sculpture continues to scintillate.
The matinee workshop, organized by SAAM's departments of Education and Public Programs, was attended by 240 local students and led by Janet Eilber, artistic director of the Martha Graham Dance Company. The sold-out evening performance was followed by a discussion with Janet Eilber, myself, and Dakin Hart, guest curator of Isamu Noguchi, Archaic/Modern and senior curator at The Noguchi Museum.
Crucial support for both performances came from the Secretary of the Smithsonian and the Smithsonian National Board. The evening performance was dedicated to the memory of Jack Rachlin, a longtime volunteer and an ardent supporter of SAAM's sculpture program, who passed away on February 22, 2017.
The Martha Graham Company returns to The Joyce bringing three diverse programs collected under the season theme Sacred/Profane. Classic works by Martha Graham and works by four contemporary choreographers will be viewed through this lens highlighting the mystical, spiritual and humorous aspects of magical thinking.
Graham masterworks this season include selections from Dark Meadow, which evoke the eternal search for connection; Primitive Mysteries, reflecting the purity found in the virgin myths of the Southwest; and Clytemnestra Act II, with its ancient saga of family tragedy on a mythic scale. The Graham favorites Diversion of Angels and Maple Leaf Rag round out the line up.
The engagement also features Rust, by Nacho Duato, and Woodland, by Pontus Lidberg, both created for the Company in recent years. And we’ll premiere a new work by Sidi Larbi Cherkaoui, who draws on Sufi mysticism to create a piece set to traditional Middle Eastern music, and another by Annie-B Parson, inspired by Graham’s Punch and the Judy and exploring the domestic rough-and-tumble of that street theater classic.
Curtain Chat: Wed, Feb 22
Program A – Feb 14 at 7:30 pm; Feb 16 at 8 pm; Feb 19 at 7:30 pm; Feb 24 at 8 pm; Feb 26 at 2 pm
Dark Meadow Suite; Ekstasis; Woodland; I Used to Love You; Maple Leaf Rag
Note: There are strobe lights used in Program A.
Program B – Feb 17, 18 at 8 pm; Feb 21 at 7:30 pm; Feb 23 at 8 pm; Feb 25 at 2 pm
Primitive Mysteries; Diversion of Angels; Ekstasis; Mosaic
Program C – Feb 19 at 2 pm; Feb 22 at 7:30 pm; Feb 25 at 8 pm; Feb 26 at 7:30 pm
Clytemnestra Act 2; I used to love you; Mosaic; Ekstasis; Maple Leaf Rag
MONTE / MOLISSA / MARGO / MULLER – LIVE!
Elisa Monte Dance, Molissa Fenley and Company, Margo Sappington and Jennifer Muller/The Works join forces to present a series of five Shared Program Performances featuring 5 Pieces – 3 Premieres – and 25 Dancers.
Four distinguished and innovative choreographers, at the height of their careers, each with a powerful original voice, present an eclectic evening of dance. The 25 extraordinary performers stand out as individuals in each piece yet come together to create a evening of dance.
The Four M’s offer an amazing opportunity to experience four acclaimed choreographers and their exceptional dancers together on one stage!
THE THIRD COAST and MALI (Molissa Fenley)
Molissa Fenley and Company – The Third Coast (parts 1 and 2) and Mali (part 8) of Water Table (2015-2016). The dances of Water Table present the qualities of water, the abundance or lack of pure water in a geographical area or the conditions and patterns of large bodies of water. The Third Coast, music by Ryuichi Sakamoto; Mali, music by Laetitia Sonami.
DEXTRA DEI (Elisa Monte Premiere)
From the Choreographer: “Dextra Dei was started in 1989 as a response to what was then the AIDS assault on my community of friends. It was a men’s quartet premiered in Palais des festivals et des Congres, Cannes, France. I have decided to bring the work back into my repertoire as well as premiere a new section of the work. ” Music by Tibor Szemzo.
ENTWINED (Margo Sappington)
Entwined – to wind or twist together – A sensual exploration involving not just the body but the spirit in a dance at once extremely physical and exquisitely delicate. The mood is set by the serenity of Erik Satie’s solo piano compositions, the Gnossiennes. Music by Erik Satie.
WORKING TITLE (Jennifer Muller Premiere)
“I have been thinking about the difficulty of defining relationship in today’s world. Types of partnership have changed and can range from cursory to deeply involved. Any significant relationship requires constant work to avoid conflict and misunderstanding but often we don’t have or are not willing to put it in the time. To further complicate matters, once we give in to intense emotion, it can thwart communication, confound hope and affect intimacy.” – from the choreographer. With origins as a subway performer, Yut and the Hot Four’s passionate music, played live on stage, heightens the intensity of the piece.
Liminal Surrender, a concert of dance and theater on April 15 & 16 at 7:30 pm
at the Chen Dance Center, 70 Mulberry Street, 2nd Floor in New York City in Chinatown.
Tickets: $15. Reservations: 212-927-0476 firstname.lastname@example.org.
Directed by Beth Soll
Five dance premieres and one theater premiere! Choreography by Beth Soll and one dance with
choreography by Michelle Micca.
Gary Winter will premiere a play directed by Meghan Finn.
Liminal: “. . . on a boundary or threshold . . . transitional or intermediate between two states, [or]
situations . . .” Oxford English Dictionary
Details at Dusk, a duet for Lara Mahler and Andrew Trego. Music by Claudio Monteverdi.
Sweet Detour, a solo for Lara Mahler. Music by Claudio Monteverdi.
Open Labyrinth, a solo for Andrew Trego. Music by Claudio Monteverdi.
Twilight Strategies, a solo for Beth Soll. Music by Claudio Monteverdi.
Dance of the Incidental Cashier: a play by Gary Winter. Directed by Meghan Finn. Actors
Abby Rosebrock and Jack Frederick.
Snow Dance (2014) a duet for Karesia Batan and Michelle Micca with music by György
Covert Transformations (2012), a solo for Beth Soll with music by Ivan Božičević and Eka
Tink a duet for Karesia Batan and Michelle Micca choreographed by Michelle Micca with
Information: 212-927-0476 email@example.com bethsollandcompany.org
*Playwright: Setven Fechter
*Director: Vernice Miller
*Production Manager/Lighting Designer: Haejin Han
*Stage Manager: Kimberlyn C. Alava
*Set Designer: Kyu Shin
11/19 - 7:30pm
11/20 - 1:30/7:30pm
11/21 - 7:30pm
11/22 - 3pm
11/23 - 1:30/7:30
Genald W. Lynch Theater
Writer: Quincy Confoy
Director: Kevin Confoy
Millie, a cantankerous old woman with a love for Elvis and extreme couponing, wins the Jolly Green Giant Sweepstakes. Her grown children conspire to kill her before she spends the prize money, and their inheritance, on the "Graceland Rental Package."
1h 45m Local Bronx, NY
VENUE #5: The Celebration Of Whimsy
MON 17 @ 4:30 + TUE 18 @ 9:15 FRI 21 @ 9 SUN 23 @ 12:15 THU 27 @ 4:30
A pioneer for females in law enforcement, Mary Shanley joined the NYPD in 1931, quickly becoming a Gotham all-star and tabloid sensation. During her 30-year career, she worked undercover to achieve a staggering 1000 career arrests, became the 4th woman in history to make detective 1st grade, and then nearly lost it all. Capturing her at a major crossroads of career, identity, and love–her most elusive culprit of all–Undercover: The Mary Shanley Story grapples with the legend of “Dead Shot Mary,” a trail blazer, a maverick, and a true New York original.
Starring Rachel McPhee
Written by Robert K. Benson
Directed by Stephen Kaliski
Stage Manager/ Lighting Design: Haejin Han
Costume Design: Peri Grabin- Leong
Set Design and Prop Coordination: Kyu Shin
Sound Design: Michael Feld
Production Assistant: Alex Frantz
Graphic Design: Jason Michael Miller
Thursday August 6 8pm
Friday August 7 8pm
Saturday August 8 8pm
Under St Marks Theater
94 St. Marks Place
New York, NY 10009
Tickets are $10 at the door (cash only)
To make a reservation please email firstname.lastname@example.org
DANCE PROJECTS, INC.
An evening of collaborative work
directed by Janet Aisawa and Beth Soll.
Performances will take place at
The Medicine Show Theatre
549 West 52nd Street, 3rd Floor in NYC
$25 or $20 with Reservations. Cash only.
Reservations at email@example.com or 212-927-0476
Burq Off!, an autobiographical one-woman show written and performed by Nadia P. Manzoor, is a jaunty tour through madly opposing worlds. The glowing promise of modern London versus the glum realities of a conservative Pakistani Muslim home are punctuated by fierce Bollywood dance moves and at least one blackout drinking incident.
Embodying 21 different characters – a domineering father, soulful mum, saucy English friend and Islamic studies teachers whose interests range from slapping to pornography – Nadia illuminates her conflicted sense of identity while questioning repressive cultural norms. Moving, funny, deeply personal and yet universal, Burq Off! explores what it takes to evolve past the veil.
ITE’s 2nd Annual Festival Includes A Diverse Line-Up Including World Premieres, An All Male Choreographers Evening And Encore Solo Performance From Facebook Contest Winner Christina Noel & The Creature
Over the 5-day festival, March 11-15, we will bring together some of NYC’s most talented emerging and established choreographers for an immersive focus on contemporary concert dance. The festival will feature world premieres, New York premieres, as well as six works-in-progress and re-staged pieces.
ITE will present solos, duets, and trios from Stephanie Batten Bland, Sidra Bell, MADboots (Jonathan Campbell, Austin Diaz), Joe Celej, LoudHoundMovement (Brendan Duggan, Mallory Lynn), Davalois Fearon, Lane Gifford, Daniel Gwirtzman, Francesca Harper, Thomas House, Christina Noel & the Creature, Danielle Russo, David Norsworthy, Jenny Rocha, Sydney Schiff, Steps Ensemble (Bradley Shelver), Nelly Van Bommel, and Andre Zachery.
Simultaneously set in and around the mind of the revolutionary activist, Thomas Paine in Violence is a text-dense psychedelic opera inspired by the final days of the American Founding Father's life, the strange events of his “afterlife”, and the shock jock punditry of our contemporary media landscape. Its score is a combination of lightning quick speech and song, electronics, and a vocalizing chorus of instrumentalists. This is the first full-length theatre work by composer/librettist/performer Paul Pinto, in collaboration with co-librettist Rick Burkhardt, vocalist Joan La Barbara and the ensemble Ne(x)tworks.
February 13, 2015 - March 01, 2015
Wednesdays-Saturdays at 8pm / Sundays at 4pm (added performance Monday 2/16)
Ellen Stewart Theatre
By Theatre Askew
Written by Trav S.D. | Directed by Elyse Singer
Adah Isaacs Menken. The Naked Lady. The Great Bare. Prince Mazeppa. Infelicita. Dolorous. Black. White. Jewish. Catholic. Housewife. Lesbian. Actress. Poet. Equestrienne. World famous. Forgotten. Who was she really? Theatre Askewcontinues its celebration of the history of queer culture in New York City withHorseplay: or, The Fickle Mistress, a biographical reconstruction/Ridiculous reimagining of the life of the 19th-century international superstar, Adah Isaacs Menken.
Since 2004 Theatre Askew’s productions have attempted to straddle categories often set in opposition to each other: accessible and experimental; pleasing and provoking; popular and alternative. Past productions include Bald Diva! and i google myself (both nominated for GLAAD Media Awards) and I, Claudius. In 2009, Askew kicked off its queer history series with the world premiere of William M. Hoffman’s Cornbury: The Queen’s Governor, starring David Greenspan and Everett Quinton. This production marks the company’s La Mama debut.
"Ms. Pope, an assured performer with a brazen alto, shines in the role, changing her accent and identity even more often than her bloomers. “I’m whoever I need to be,” Adah tells a lover. With brio and brass, Ms. Pope is, too." -- NEW YORK TIMES
"Before there was Kim Kardashian, there was Adah Isaacs Menken… and there is no more delightful way to learn about Menken than Trav S.D.'sHorseplay... It's a rollicking and unbelievable story, overflowing with scrappy DIY theatricality." -- THEATERMANIA
"Pope is marvelous, fluidly changing accents and outfits in front of our eyes (costumes, wigs, props and set pieces are all in full view), belting out a few numbers in her smoky voice and maintaining charm when delivering some very dark punch lines." -- TIME OUT, NY
"Under Elyse Singer’s zippy direction, the versatile troupe of actors play multiple roles, often making head-spinning rapid character and gender switches... But none of this would work without the central and terrific portrayal of Adah Isaacs Menken by Molly Pope, in whose acting you’ll find traces of Barbra Streisand, Gilda Radner, Mae West, Carol Burnett, and Bette Midler." -- TALKIN' BROADWAY