★★★✰✰ The gala was a well-put-together, briskly-paced affair, a sampler of Graham excerpts dating back to her very first recital, in 1926.
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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.