Fascinating: Dances by Charles Weidman

Dance

It was a triumvirate. The brilliant second-generation offspring of Denishawn, the pioneering American modern-dance company comprised a trio of names: Martha Graham, Doris Humphrey, and Charles Weidman. A fourth post-Denishawn great was Jack Cole, but Cole came to the party after that first fabulous threesome had departed.

I have listed the names of Graham, Humphrey, and Weidman in the order of audience familiarity wiht their work. Miraculously, the Graham Company still exists and tours; keeping it relevant is its artistic director Janet Eilber. But after Martha, there is a precipitous drop-off. We see very little Humphrey, despite the grandeur of her artistry and her years as an influential instructor at The Juilliard School. But Weidman? Fewer and further between. And I’m interested.

Charles Weidman (1901-1975) was a leading figure in the development of American modern dance.  Born in Lincoln, Nebraska, to a civil engineer and former roller-skating champion, young Weidman showed a strong interest in architecture. But his passion turned to dance in 1916 after seeing a performance by the Denishawn Company, and after studying dance locally, Weidman moved to Los Angeles to continue training at the Denishawn School. Recognizing Weidman’s extraordinary talent as a mimic, Shawn choreographed solos for him, putting to use his expressive face and gestures and his sense of humor.  In 1927, Weidman left Denishawn with fellow dancer Doris Humphrey to form the legendary Humphrey-Weidman Group, creating some of the greatest works of the modern dance repertory during the Group’s almost two decade long existence. In 1945 Weidman formed his own group and school, where his students included Alvin Ailey, Jack Cole, Bob Fosse, Jose Limon, and Gene Kelly. 

A program presented at the studio of the Paul Taylor Dance Company makes sense, for Taylor was a part of the Denishawn tree, and in some regards he had more in common with Weidman than with Graham for whom he danced.

The program offers.

LYNCHTOWN (1936) performed by the Sokolow Theatre/Dance Ensemble, staged by Gail Corbin
Generally regarded as one of Weidman’s masterworks, premiered in 1936 at the Guild Theater, NYC.  As a young boy, Weidman witnessed a lynching in Omaha, Nebraska, and was overwhelmed by the violence of the crowd.  The experience inspired him to create Lynchtown, a choreographic depiction of a carnal bloodthirsty mob acting like vultures about to devour their prey.

CHRISTMAS ORATORIO (excerpts) (1936), performed by the Sokolow Theatre/Dance Ensemble, staged by Gail Corbin. First performed in 1934 and revived in 1961.  Set to music by JS Bach, the full company work expresses joy, compassion, and friendship in a dance of rejoicing.

MEN’S DANCE from New Dance (1936), performed by Alex Clayton, dancer with Paul Taylor Dance Company, staged by Gail Corbin. Doris Humphrey’s NEW DANCE, created in 1936, is considered the masterwork and was created during the existence of the Humphrey Weidman Dance Company, 1928 to 1945.  To this great work, Weidman contributed Men’s Dance.

DANSE AMERICAINE (1923), performed by Nikolaj McKenzie, created for Charles Weidman by Ted Shawn
Created by Ted Shawn expressly designed to show off Weidman’s humor and acting ability.  The character is a mill town guy who is the local dude, full of bravado, bluster, and braggadocio.  Music is by Dent Mowry, and the premiere took place October 15, 1923 at the Apollo Theatre in Atlantic City, N.J.


DANCES BY CHARLES WEIDMAN | Paul Taylor Dance Company Studios, New York City | February 15 & 16

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