Americana played a significant role in a number of meaningful dance performances as Celebrity Series of Boston presented Martha Graham Dance Company for two exclusive performances from Friday, November 22 to Saturday, November 23 live and in person at the Cutler Majestic Theatre in Boston, Massachusetts.  The show ran 1 hour 40 minutes with one intermission.  Click here for more information and where Martha Graham Dance Company will perform next nearing its centennial year and here for Celebrity Series of Boston’s upcoming events.

Exploring dance through various generations, The Martha Graham Dance Company delivered an intriguing mix of traditional and contemporary performances infusing an array of music genres including classical and tambourine-tinged Americana through storytelling and vivid and symbolic imagery.  From comical to sensual to bold, this distinct selection of dance performances shared some common themes while making a rich and unique impression during each of the four performances.

A leader in the Modernist movement, Martha Graham Company’s Dark Meadow Suite explores a Mexican feel featuring a burnt orange landscape lit by Nick Hung and dancers are adorned in matching burnt orange, black and white layered gowns.  Carlos Chávez’s oboe and fiddle-infused rhythms brings poignancy to the music’s powerful tempo.  It is a sweeping and sensual piece boasted by sharp and sweeping movements as dancers entwine and lean on each other in an elegant trio of pas de deux.

Lloyd Knight and Anne Souder’s pas de deux evokes a flourishing intensity hastening and pulsing in unison as the fiddle grinds and they both gazed upward.  Lloyd’s solo is full of athletic charisma in sharp and carefully executed movements and occasionally dancing on his heels.

Agnes DeMille’s Rodeo combines bluegrass, tap and folk in an upbeat and exuberant piece by Cecil B. DeMille’s niece that first made its debut in 1942.  A famed dancer and choreographer, De Mille demonstrates her multifaceted skills not only through this beautifully choreographed ballet, but through compelling storytelling that could have easily translated to film as it does onstage.

Set in various western settings including a prairie, Rodeo focuses on a cowgirl captivatingly portrayed by Laurel Dally Smith who bursts onto the scene galloping with lively authenticity and endearing comic charm marching to the beat of her own drum.  Dressed as a cowboy and remarkably expressive, the cowgirl finds herself not quite fitting in anywhere.  Smith’s confidence and rambunctiousness seems to come off awkwardly with the ladies and not quite acceptable to the cowboys.  Smith’s self-assured individuality displays her earnestness and determination yet leads her to daydream in isolation.

Aaron Copland’s jubilant score and heart thumping rhythms with a country twang keeps this short tale lighthearted as Smith brings a sympathetic and fanciful nature to this role.  Surrounded by happy couples, Smith is taken by the romance of it all and displays not an ounce of jealousy, but soaking in her surroundings as she craves to belong.

The complementary array of Oana Botez’s pastel colored western attire and period pieces embroidered in floral patterns with distinct hats beautifully stand out against each of Beowulf Boritt’s picturesque settings.  Accented by clapping and jubilant dance, Lloyd Knight’s sporadic instructions to the beat lead the dance as Square Dance Caller. They are the only spoken words in the piece and lends to the carefree and romantic atmosphere prevalent in this performance.  De Mille creates a dreamlike and fanciful world as the cowboys flirt and skirt chase in lively dance routines that include couples partnering in sweeping pas de deux.

Richard Villaverde as The Champion Roper not only delivers some sweet scenes with Smith, but an excellent tap dancing solo to heart thumping rhythms.

Rodeo’s conclusion is unexpected and somewhat indicative of the time the piece was performed.  It is a comical, heartfelt and romantic piece sharing some similarities to De Mille’s artistry in Oklahoma while it explores discovering your place in the world.  

Martha Graham’s Lamentation proves that a piece does not need to be long to have a lasting impact.  Originally performed in 1930 and infused with fiddle-infused rhythms by Zoltán Kodály, So Young An depicts powerlessness and grief perfectly and poignantly barefoot and bogged down by her clothing in limiting dress and engulfed in its masses and yet reaching out. 

When one is speechless, say it through art.  We the People, choreographed with a catchy country tinge by Jamar Roberts this year, makes powerful statements in various segments that kick off in dance before the music begins.  At once playful, then winding, but consistently commanding the stage, We the People is a powerful array of tight, unified and symbolic chorography on a black backdrop.  In Karen Young’s denim-inspired attire, the dancers seemingly get swept up in the music as they twist, stomp, and slice the air to infectious tambourine-tinged and fiddle-induced rhythms.  Bold and tenacious, performers clap and spin to a driving beat creating vivid imagery and making a lasting impact about the modern world.

Celebrity Series of Boston presented Martha Graham Dance Company for two exclusive performances from Friday, November 22 to Saturday, November 23 live and in person at Cutler Majestic Theatre in Boston, Massachusetts.  Click here for more information and where Martha Graham Dance Company will perform next nearing its centennial year and here for Celebrity Series of Boston’s upcoming events.