This year marks the 100th year of the Martha Graham Dance Company, the oldest dance company in the United States. In celebration of this milestone Graham’s Artistic Director Janet Eilber, brought “LA Dances Graham100” for one night only, April 26, 2025, to The Soraya at Northridge College. She along with Thor Steingraber, Artistic Director of The Soraya, have put together a diverse program that not only acknowledges the innovative importance of Graham’s work but introduces students and audience members alike to the significance of her place in history. Featuring soloists from the Graham company along with performances from CSUN Dance Program, Los Angeles County High School for the Performing Arts Dance Dept., Lula Washington Dance Theatre and USC Glorya Kaufman School of Dance, this was an ambitious and ultimately satisfying undertaking as overseen by Ms. Eilber.
Ongelle Johnson of Lula Washington Dance Theatre performs Martha Graham’s “Deep Song” April 26, 2025 for The Soraya’s “LA Dances Graham100” – Photo by Luis Luque, Luque Photography.
“Deep Song,” choreographed and performed by Graham in 1937 was brought to life here by Ongelle Johnson a member of Lula Washington Dance Theater. Conceived in response to the horrors of the Spanish Civil War “it is the anatomy of anguish from tragic events.” Dressed in a black and white dress with a long swirling skirt, we find Ms. Johnson sitting on a bench in utter desolation. She contracts, she reaches, she falls to the floor, she takes refuge under the bench, she embodies the fears and horror of “man’s inhumanity to man.” The movement is pure Graham in style and technique and it takes a dancer with deep connections to this movement to bring it to life. While Ms. Johnson dances with commitment, she does not yet have the maturity or depth of training to bring the nuances of Grahams’ sentiments to the fore. Still, it is important that these works continue to live in the dance canon and this was a strong opening to the night. The stark and mournful music was composed by Henry Cowell.
Los Angeles County High School for the Arts Dance Department performs Martha Graham’s “Panorama” April 26, 2025 for The Soraya’s “LA Dances Graham100” – Photo by Luis Luque, Luque Photography.
“Panorama” from 1935 is a comment on “Social activism and the power of numbers.” Calling for a large cast the LA High School of Performing Arts stepped up and delivered. Dressed in flowing red costumes, these young dancers never lost focus as the chirography moved through pattern after pattern while running, marching, breaking into varied groups and creating one picture after another. Intersecting this with concentrated movement, floor work, leaps and running circles brought Graham’s style and staging ability to the fore, while keeping her message clear, “together we are stronger.” There were a few baubles and balance issues here and there as these are clearly students yet overall, the performance was clean and impressive. The chance to dance Grahams’ masterwork and to be taught by her heirs is a rare opportunity that will instill in these young dancers an appreciation for the importance of Grahams’ life and work.
Kozue Kasahara of Lula Washington Dance Theatre performs Martha Graham’s “Satyric Festival Song” April 26, 2025 for The Soraya’s “LA Dances Graham100” – Photo by Luis Luque, Luque Photography.
“Satyric Festival Song” though choreographed early in Grahams’ career, 1932, it is clear that she already had a sense of humor about herself and how she was perceived. Here, Kozue Kasahara, a dancer associated with Lula Washington Dance Theater, is adorably hilarious as the mugging Graham stand-in. Dressed by Juliette Kaiser in a tube-like striped dress of green, yellow and black, Kasahara presents a series of obvious “Graham” moves in exaggerated fashion. She is funny and flippant as she hits the extreme in every pose while tossing her abundant hair about and sneaking wry looks at the audience. It’s as if she is saying “you think that was funny, how about this?” The audience was caught up from the beginning and was carried along by Kasahara’s clear understanding of the humor within the movement. This was a nice break from the ultra-serious work that went before and was rewarded by a lot of laughter and thunderous applause, which she milked.
Marzia Memoli as Mary as Virgin/Magdalene/Mother and Lorenzo Pagano as the Penitent perform Martha Graham’s “El Penitente” April 26, 2025 for The Soraya’s “LA Dances Graham100.” Both performed for the MGDC – Photo by Luis Luque, Luque Photography.
“El Penitente” choreographed by Graham in 1940 was among the highlights of the evening. “Penitent” refers to a sect of Southwestern Indigenous Americans, “who practiced purification from sin.” This “neo primitivist dance drama” explores biblical scenes as if performed by a traveling troupe of players. Dressed in black the imperious Christ Figure sternly danced by Lloyd Mayor, contrasts sharply with Lorenzo Pagano’s Penitent who we meet as he flagellates himself for his sins. Into the mix comes the lovely Marizia Memoli who completely captures the spirit of Mary as Virgin/Magdalene/Mother, as each merges into the story. With ingenious use of minimal props and eclectic choreography, Graham’s narrative is precisely and enchantingly told. Uniquely stylistic, packed with symbolism, this is Graham at her pinnacle. The score featuring flute, oboe and piano by Louis Horst perfectly underscores the story.
Following the intermission there was a brief silent film of Graham performing segments of “Lamentation” from 1930, which led directly to “Keigwin’s Variation” featuring the CSUN dancers. This work and several pieces that followed were made by selected choreographers in tribute to the style and influence of Graham.
Set to the serene music of Chopin’s Nocturne in F Sharp, Op. 15, No.2, this group of apprentice dancers made the most of the simple yet effective movement and interesting staging by choreographer Larry Keigwin. Dressed in black this was a group piece that also allowed for individual work. Keigwins style is modern with a distinctively contemporary edge which he infuses with intricate moves, finger choreography, deep backs and broad staging. The CSUN dancers worked with total commitment and did justice to his vision.
Lacking focus was “Lula’s Lamentation Variation” a dance for three set to music written by Lula Washington and performed by Tamica Washington-Miller along with an excerpt of Michael Jackson’s “You Are Not Alone.” This piece was clearly a response to today’s frightening political climate. However, the dance did not reflect this sentiment and the literal screaming that followed felt out of place when a dance of rage, or contempt or sadness could have filled the space. This was an opportunity missed and felt out of alignment with the Graham standard.
USC Glorya Kaufman School of Dance performs the World Premiere of “Thomason Variation”, choreographed by Jakevis Thomason, April 26, 2025 for The Soraya’s “LA Dances Graham100” – Photo by Luis Luque, Luque Photography.
A wonderful surprise was “Thomason Variation” performed by the dancers from USC’s Glorya Kaufman School of Dance. Choreographer Jakevis Thomason has taken modern technique, infused it with hip hop sensibility, added inventive staging and quirky music, also by Thomason and Branden Akinyele, and come up with an absolute show stopper. The dancers, all dressed in long red coats that enhanced their every move, were fierce in their dedication to Mr. Thomason’s choreography. Mesmerizing and seriously fun, Thomason is someone to keep your eye on. The swinging “red coats” were designed by Jakevis Thomason and Kathyrn Poppen.
Thomason was a hard act to follow and unfortunately Graham’s “Conversation of Lovers” from Acts of Light 1981, suffered. Marizia Memoli and Lloyd Mayor are the awkward lovers who were dressed in unflattering red costumes based on the original design. Contrary to the title there was little emotion or movement that conveyed the primary idea of romance, love or sexual attraction. The lifts and partnering were often clumsy and Grahams’ signature style and storytelling ability fell flat. Both performers from the Graham company worked hard but this was slow going. Perhaps this piece was better in its’ original iteration but it has not aged well. No music was credited.
USC Glorya Kaufman School of Dance performs Martha Graham’s “Ritual to the Sun” April 26, 2025 for The Soraya’s “LA Dances Graham100” – Photo by Luis Luque, Luque Photography.
“Ritual to the Sun” was the perfect closing for this night of tribute to Martha Graham. Also choreographed in 1981, Graham has used her classic classroom warm-up, including across the floor exercises and center work, as the basis for this piece again performed by students of the USC Glorya Kaufman School of Dance. Dressed in yellow/gold unitards designed in 1981 by Halston and with Carl Nielsen’s glorious musical score, “Helios Overture, Opus 17,” the dancers took the stage. The music builds and descends in stages heavily influenced by French horns and violins and the choreography moves perfectly in tandem with it. Showcased here is the significance of Grahams’ training, the importance of her technique and an examination of her innovative genius. Danced with youthful enthusiasm and deep-felt commitment this was an exhilarating way to end the evening.
Cast of “LA Dances Graham100” – Dancers represent MGDC, Lula Washington Dance Theatre, USC Glorya Kaufman School of Dance, CSUN Dance, L.A. County High School – Photo by Luis Luque, Luque Photography.
Graham’s influence on the world of dance cannot be overstated. Thankfully, Thor Steingraber and Janet Eilber recognize this and have brought another important and splendid night of dance to The Soraya.
Terrific lighting throughout was by Designer Soran Schwartz.
For more information about The Soraya, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Los Angeles County High School for the Arts Dance Department performs Martha Graham’s “Panorama” April 26, 2025 for The Soraya’s “LA Dances Graham100” – Photo by Luis Luque, Luque Photography.
