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Breaking the Waves (Review of Martha Graham’s Fall and Recover Gala, for DanceTabs)

Blakeley White-McGuire (and her extraordinary dress) in "Imperial Gesture." Photo by Charles Eilber.
Blakeley White-McGuire (and her extraordinary dress) in “Imperial Gesture.” Photo by Charles Eilber.

Here’s my review of the Martha Graham Fall and Recovery Gala, which included the restored version of Imperial Gesture, an intriguing excerpt from Canticle for Innocent Comedians, a new work by Luca Veggetti, and an excerpt of a work-in-progress by Duato.

And a short excerpt:

“Even more than with other choreographers, the costumes and sets are essential elements of Graham’s dance imagination. Think of Martha’s stretchy sack-dress in Lamentation, or the prickly metal tree-dress by Noguchi in Cave of the Heart. They are extensions of the dancers’ bodies, and of Graham’s Jungian world-view. Even more, they color our perception of the movement. A contraction of the pelvis looks quite different in a leotard than it does in a floor-length cape-dress.”

Any thoughts on the current Graham season?

“The Music Comes First” — an interview with Sara Mearns (DanceTabs)

Sara Mearns as Dewdrop. Photo by Paul Kolnik.
Sara Mearns as Dewdrop. Photo by Paul Kolnik.

Here is a recent interview with Sara Mearns of New York City Ballet, for DanceTabs, in which she discusses  recent struggles with injury, her love of dance, and some interesting upcoming plans.

A little excerpt:

“The music comes first, hands down. The music will tell you everything. It will guide you to where you need to go. It’s hard to describe how I go to that place when I get out there and hear that music. There’s nothing else.”

What are some of your mental images of Mearns’ dancing?