Displaying items by tag: Norman Dello Joio
A Century in Motion: Martha Graham’s Legacy Reborn
At the Auditorium Theatre, a building that itself carries the muscle memory of American performance history, the Martha Graham Dance Company marked its 100th anniversary with an evening that felt less like a retrospective than a living argument for why Graham still matters. This was not modern dance preserved in amber. It was modern dance breathing—angular, emotional, political, and insistently present.
Artistic Director Janet Eilber framed the evening with contextual remarks that were both generous and incisive, situating each work within Graham’s evolving artistic philosophy while emphasizing the company’s commitment to keeping these dances alive rather than embalmed. Founded in 1926, the Martha Graham Dance Company stands as the oldest modern dance company in the world, and its influence is nearly impossible to overstate. Graham shattered ballet’s decorative restraint, replacing it with contraction and release, emotional excavation, and a radical insistence that the body could think, rage, mourn, and remember. Entire generations of choreographers—from Merce Cunningham to Paul Taylor to Alvin Ailey—emerged from her orbit.
The first half of the program traced an emotional arc from love to grief to collective urgency. Diversion of Angels opened the evening with its luminous exploration of love’s many incarnations. Structured lyrically rather than narratively, the ballet presents three couples—youthful, mature, and seasoned—each embodying a different phase of intimacy. Norman Dello Joio’s undulating score supports movement that is buoyant yet grounded, joyful without sentimentality. The work’s Chicago roots add a quiet historical resonance: it premiered here 77 years ago under its current title, having debuted the year before as Wilderness Stair. Seen now, it feels ageless, its athletic lyricism and emotional clarity undimmed.
If Diversion of Angels celebrates connection, Lamentation confronts isolation and loss with ferocious simplicity. Premiered in 1930, the solo remains one of the most iconic works in modern dance. The dancer, seated and encased in a tube of purple jersey, becomes a living sculpture of grief. The fabric stretches, strains, and reshapes under the pressure of the body, creating stark diagonals and suspended tensions. The figure is deliberately abstract—neither gendered nor humanized—grief made manifest. The anecdote Graham often shared, of a woman who found permission to grieve after witnessing the work, still echoes here. Nearly a century later, Lamentation retains its power to dignify sorrow without theatrical excess.
The first half concluded with En Masse, choreographed by Hope Boykin, an Alvin Ailey alum, and receiving its Chicago premiere during this centennial engagement. Built around a rediscovered shard of Leonard Bernstein’s music—sketches believed to have been composed for Graham and later shaped by composer Christopher Rountree—the work bridges generations. Boykin’s choreography channels Graham’s collective intensity while speaking in a contemporary vocabulary. The dancers move as a charged unit, bodies surging and fragmenting, suggesting both solidarity and strain. It is a smart, muscular addition to the repertory, affirming that Graham’s legacy is not static but generative.
The second half belonged entirely to Chronicle, one of Graham’s rare openly political works and a striking reminder of her moral clarity. Created in response to her refusal to participate in the 1936 Olympics in Nazi Germany, the work is performed by an all-women cast and pulses with defiance. Its three movements confront war, nationalism, and resistance not through literal narrative but through embodied protest—sharp footwork, grounded stances, and unyielding group formations. In today’s political climate, Chronicle feels unsettlingly current, its urgency undiminished.
What made this anniversary evening resonate was not nostalgia but conviction. The Martha Graham Dance Company did not ask the audience to admire history; it demanded that we feel it—in our bodies, in our grief, in our collective responsibility. At 100 years old, Graham’s work remains unapologetically modern, and this performance made clear that her revolutionary spirit is still very much in motion.
Celebrating Women Leaders in Dance
25-26 Season
The Auditorium
50 E Ida B Wells Dr, Chicago, IL 60605
312.341.2300
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