Hundreds of Pittsburgh locals trekked through snow last Wednesday, Jan. 28, to witness the oldest dance company celebrate its 100-year anniversary of continuing the legacy of one of the most influential modern dance pioneers ever, Martha Graham.
Just three days prior in Chicago, The Martha Graham Dance Company kicked off its centennial national tour, showcasing a 95-year-long capstone to Martha’s movement, manifestations and legacy.
For one night at the Byham Theater, these strong artists and visionaries put on a sensation of a show: a century-long celebration of Graham’s creativity tinged by the pangs and calamity of social-political turmoil and the power of communal acceptance. The program consisted of several iconic works by Graham herself as well as re-imagined pieces orchestrated by the entrusted choreographic voices of today’s dance world.
Point Park’s dance school obtained the rare opportunity to perform an original Graham piece in the program. Watching this performance felt as though I’d stepped into the psyche of Martha Graham’s hopes and dreams; a world of peace and solidarity through the forum of raw movement expression.
As a formal introduction to the show, Janet Eliber, artistic director and renowned former dancer of the company, came out onto stage expressing gratitude on behalf of the company for being able to perform in Downtown Pittsburgh, the birthplace of Graham herself. She set the tone and story line for the audience members, explaining the significance of every piece in the order, maintaining a theme of social justice and power through both individuality and community.
The concert comprised a total of five dances. The opening piece was a solo created by Martha in 1937 in reaction to the atrocities of the Spanish Civil War, entitled “Immediate Tragedy.” The piece was now re-imagined through Janet Eilberg’s choreographic eye.
Our very own cast of 35 from Point Park University performed the second piece, “Panorama.” The piece was a 33 ensemble dance created in 1935, whose message evoked the power people have to make change.
Third in line was a 2025 commissioned work entitled “En Masse.” Hope Boykin choreographed the piece, focusing on the struggle to break self imposed limitations to experience true freedom.
Fourth following this work was the revival of one of Graham’s most memorable and impactful solos ever created, “Lamentation.” The piece was a solemn dance of grief and lamentation that premiered in 1930.
Finally the show concluded with the 2023 ensemble work, “We The People,” choreographed by Jamar Roberts. The piece left a lasting idea of how fierce and resilient the human race can be as individuals as well as a united front.
Janet exited the stage, the house lights slowly faded to blackout, and the curtains rose revealing Anne Souder commanding the stage in a slow-staggering walk, marking the beginning of the show.
The musical score, created by Christopher Rountree, consisted of piercing, almost haunting single piano notes. This created a dramatic soundscape which amplified Anne’s movement.
That same drama was emphasized by Annes’ arching upper body, grounded-stomping feet and expansive shifts from one movement to the next. There was a sense of pride in how she carried herself across the stage — a divine and poised stature with a chest lifted to the sky showing resilience.
This beauty amidst the tragedy made me think of Graham’s own words in the program, explaining the inspiration of this piece: “Whether the desperation lies in Spain or in a memory in our own hearts, it is the same. I felt in that dance I was dedicating myself anew to space, that in spite of violation I was upright and I was going to stay upright at all costs.”
Even from reading her words on the page, words written many years ago to serve as inspiration for Henry Cowell’s composition of the music, I felt the soul those words carried through the vessel of Anne’s own dancing body. It was crystal clear: her commitment to Graham’s artistry and her portrayal of resilience onstage made the story so much more alive and real to my eyes.
Next in line, “Panorama,” which was performed with the experimental orchestration of Norman Lloyd, featured militaristic brass-percussion juxtaposed by a spring-like string and woodwind section.
This piece was performed at the Pittsburgh Playhouse back in October for Point Park’s annual Fall Dance Concert. It was staged by the Graham Dance Company legend, Elizabeth Auclair, and placed under rehearsal direction by fellow Graham legend Jesse Factor, Point Park’s director of modern dance.
Fast forward almost four months later, and the Point Park ensemble is gracing the Byham stage in the company performance. As a Point Park student and understudy of this dance, I felt so privileged to see my dear friends and colleagues take up space on one of the most prestigious stages in the city. They not only represented the strength and tenacity of the dance school, but the future generation of young artists, carrying on the legacy of Martha’s vision and movement.
“En Masse” began with seven dancers onstage, one soloing whilst six danced slowly in a circle joined by blue ribbons on each of their arms. The use of the prop became more relevant whilst reading choreographer Hope Boykin’s notation about the concept: “Together we try, we fall, we restart, and grow. Together we make change, learn, and build. Alone, however, our failures scream and endurance is tested.”
The start of “Lamentation” marked a shift in the audiences’ mood. As the lights rose up on Xin Ying wrapped in the emblematic purple jersey tube-like costume, the audience audibly reacted with “Ooooohs” and even gasps of excitement. Chills shuddered down my shoulders and spine as Xin began the dancing. This seated solo comprised of tension, agony and an ominous score by Zoltán Kodál̇y. Finally witnessing the dance live onstage felt so surreal — a dream that any modern dancer would wish to live.
Finally, the show closed with the whole touring cast performing “We The People,” a folk-inspired soundscape created by Rhiannon Giddens that featured powerful feats of strength in movement and themes of rejoice and coming together. For me, this dance felt like a spark of hope and possibility. It felt like a love letter to Martha Graham from all those she’s impacted with her art. I could feel the love and spirit of every single company member onstage all the way from my balcony seat.
I walked out of that auditorium feeling like I’d witnessed and experienced Martha’s own artistic discoveries. I felt her desire for connection and community. She strived to create a better world. I could sense her resistance from a place of turmoil and damnation. Her creative tribulations and triumphs were alive on that stage, carried out through artists who care and understand who she was and strive to continue the Utopian dream she wished to see.
