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Sunday, March 31, 2013

Bill T. Jones Arnie Zane Dance Co. "Play & Play"

The Joyce Theatre featured Jones & Zane's Dance Co. in celebration of their 30th Annv. Mr. Jones has received a Tony Award for Best Choreography & a Kennedy Center Honor.  Today's matinee performance featured "Spent Days out Younder," ('00) "Continuous Replay," ('77, revised '91) and "D-Man in the Waters," (89.)  This season's programs pieces are all choreographed to classical music with the String Orion Quartet's live accompaniment.  The choreography, all by Jones and a Jones/Zane collaboration for "Continuous Replay," are modern dance compositions melding text and audio to highlight social issues:  AIDS and racial inequality.  "Spent Days," has a subdued, quiet power.  The 3 principal dancers face away from the audience and dance in unison, forming sharp angles with their arms while other dancers move slowly across the stage.  The dancers never look towards the spectators and there is little contact between the dancers til the end of the piece.  "Continuous Replay," features nude dancers, dancing in unison making "Egyptian" like movements and hissing sounds.  While the nudity & choreography is assertive, it actually serves to underly the verbal text. "You remind me of George Washington & Genghis Khan, guys who step into the world with no idea where they're going."  Neither piece, I cared for, NOT, but "D-Man," I liked, a LOT.  Inspired by the dancer, Damian Acquavella who died of AIDS, the piece is exuberant with an aquatic theme. The dancers (dressed in fishing gear) portray sea creatures being lured and captured.  Or, in pas de deuxs with one partner (the demon?) entices the other to bend to their will.  The excitment of this piece jumps right out at you.

Saturday, March 30, 2013

Talley's Folly - I Tally it a 7

Talley's Folly @ the Roundabout Theatre is a two character play by Lanford Wilson which garnered him the Pulitzer Prize for Drama & 3 Obies.  The entire play takes place on the evening of July 4, 1944, with one stage set:  an old boathouse on a farm in Missouri.  The two talented actors are rekindling a courtship ignited the previous summer.  Matt Friedman (Danny Burstein) is an Jewish immigrant tax accountant who returns from St. Louis to profess his love to Sally Talley (Sarah Paulson) a "gentile" "old maid" who works p/t as a nurses' aide for wounded vets.  Sally's family is an Anti-semetic brood that prefer shooting Matt rather than permit Sally to associate with him.  Matt & Sally make for an odd couple.  Nonetheless, they are like fuel for a car.  Matt tells Sally when she belittles his car, "castigate a man's car, castigates the man."  The play begins with Matt addressing the audience directly; suspending any sense of reality.  I didn't care for this gimmick and I loathed the redux of his banter in fast forward for "late comers."  However, there was much I liked in their verbal fencing, or as Matt referred to it "a waltz, everything is a waltz."  Matt & Sally danced around each other, both afraid to be vulnerable & fearful of losing their last chance for happiness.  "People are like eggs, they go around careful not to bang up against each other."  In the con column:  the dialogue was relentless, their deep rooted secrets anti-climatic, the humor droll.  In the pro column:  the writing was brilliant (albeit droning,) great acting and a symbiotic relationship of two misfits that was endearing.  My tally ends up in the plus column, but not by much.

Friday, March 29, 2013

The French Film Renoir is a Work of Art

"Renoir," is set on the French Riviera in the summer of 1915.  The splendor of the setting and Renoir's painting belie the darkness of WWI.  Renoir said "I refuse to paint the world black.  There is enough disagreeable things in life; poverty, despair, death."  The movie begins as a beautiful young woman, Andree, interviews to be Renoir's next (and final) model.  In 1915, Renoir is in frail health and barely able to utilize his hands.  Andree is youthful, vibrant and a free spirit.  Jean, Renoir's son, returns to his father's home shortly thereafter.  He is on leave from the army to recuperate from his severe wounds.   Andree & Jean soon become lovers.  She tells him, "You've got to squeeze everything life has to offer."  The movie is seen through the eyes of all three: Renoir, Jean & Andree.  The movie is sumptuous with scenery, lighting and the sensualities of the flesh.  "It is all about the flesh, the texture of a young girl's skin."  Renoir is only interested in capturing "the living and breathing."  The movie ends with Jean & his father are saying farewell to each other as Jean is returning to the front.  It is this melancholy impact we feel their love for each other and grasp the tenuous beauty of life.  "Pain passes, beauty remains."  The film is a work of unforgettable art.        `

Julliard's AXIOM with the Sibelius Academy

The program for Thurs. Mar. 28th, featured all works by living composers, except for Elliott Carter's "Asko Concerto."  Mr. Carter turned 100 in 2008; a year in which he was feted by Julliard.  Many of the programs Julliard performed in '08 were Mr. Carter's compositions.  I was fortunate to be present at one such program in which Mr. Carter was in the audience.   He was lauded with a lasting standing ovation.  Mr. Carter passed away last year at the age of 104.  "What did he die of you ask?"  I could make light of his passing by saying he was struck by a bus, but that would be heresy. The honors bestowed on one of the great genuises of the 20th (& 21st C) include:  2 time Pulitzer-Prizes, the 1st U.S. Nat'l Medal of Arts awarded a composer & Ernst Von Siemens Music Prize.  The illustrous list of his many honors is gargantuan.  The performance of his "Asko Concerto," on the program paid homage to a leadeing pioneer of an inovative style, blending classical music with a more complex & dramatic expression.  The other composers on the program:  Sheperd, Mure, Cheung have all been influenced by Carter's radical conventions.   Sean Sheperrd, (b. 1979) was in the audience as the Int'l conductor, Susanna Malkki, called him out in the audience with great pleasure.  Sheperd's piece "Blur," & Finish composer, Pumala's "Mure," were both aggressive and unexpected with mood changes in their pieces & surprising rhythmic phrasing.  Mure had the bass player utilize his bow & his finger plucking.  Sheperd's pianist switched from piano to organ in his piece.  Both artists incorporated a harpist and a multitude of percussive instruments giving both aggressive and angelic sounds.  Jullliard's musical performances are "like a box of chocolates, you never know what you're going to get."  It is always a delicious treat to find out.

Thursday, March 28, 2013

Studio Museum of Harlem - Gordon Parks' Photos

Yesterday was my 1st visit to the Studio Museum of Harlem located @ 125th/Colin Powell Ave.  The Museum houses a permament collection of some of the most prominent, contemporary African American artists.  The modern 3 level structure is home to many important works: a magnificient Sam Gilliam oil painting, a Glenn Ligon abstract multi-media painting, a Melvin Edward's Lynch Fragment sculpture, Beauford Delaney paintings and a stretched hoisery sculpture by Senga Nengudi to highlight just a few.  The current exhibits include a site multi-media instillation by Mendi & Keith Obadike & Gordon Park's powerful photo essay "A Harlem Family 1967," featured in Life Magazine.  Obadikes' installation incorporates video & sound to shed light on America's history in relation to race & genetics.  The video is of a twirling helix shape placed within a room with the sound of a ringing bell.  The bell belonged to Sally Hemming which was given to her by Jefferson's wife; Hemmings' 1/2 sister.  (I was just made aware of this relationship.)  Gordon Parks' photo essay is a searing pictural of a family struggling in dire poverty in the disparaging Harlem neighborhood of the late 60's.  Parks was a self-taught artist raised in a racially divided southern community.  He attended a segregated elementary school.  The racially mixed high school he attended barred black students from participating in any after school activities and were discouraged from attending universities after graduation.  Parks moved to Chicago in the 40's where he first photographed the daily lives of low income black families in the inner city.  The poignant series of Parks' photos capture pain, despair & hardships faced in this community on a daily basis. Parks said his photos are intended to leave "future generations to know what we were like, and the important major things that shaped our history at that time.  This is as imporant for historic reasons as any other."  This was the 1st of many future visits to The Studio Museum of Harlem to reflect on art's impact & social impetus for chance.  

Tuesday, March 26, 2013

Gutai @ Guggenheim "Splendid Playground"

The Guggenheim is one of NYC's iconic buildings that is famous for its design by Wright more than 50 years ago as well as for its ingenious use of the spatial layout to enhance the museum goer's experience.  The current exhibit, Gutai - Splendid Playground, refers to the avante-garde collective artist group of the Japanese post-war era:  1950-60's.  Splendid Playground is a fitting name for this exhibit I found  engaging, joyful and creative.  The rotunda features a "replication" of the magnficient outdoor installation by Sadamasa ('55) where tubings filled with vivid liquids were strung amongst the trees.  Sadamasa who passed away in '11, oversaw the planned recreation of his work for the Guggenheim. Plastic tubings with colorful fluids are stretched from the walls & ceilings to provide an exciting web structure that frames your vantage points in a kinetic progression.  In other words, this exhibit is filled with fun, with wonder & with splendor; "a vibrant spirit, and intense cry that accompanies the discovery of the new life of matter."  The Gutai movement was highly regarded for its innovativeness and exploration of new art forms that celebrated creative freedom.   I contrast this show to MoMA's "Tokyo 1955-70."  MoMA's exhibition was broader in scope and deeply ensconced with a macabre apocalyptic destruction.  The piece that stood out for me in MoMA's show was a fractured cocoon attached to monstrous pulsing cerebral mass.  The piece that arrested me @ the Guggen. was a beautiful painting by Chiya, "Love," which incorporated a mixture of paint, sand, wood & dust.  Notice the works by Shozo which incorporate scraps of paper glued together in lieu of scarce canvas.  I would encourage everyone, especially youngsters to experience Gutai @ the Guggenheim.

Monday, March 25, 2013

The Irish Film The Angel's Share is Heaven Sent

"The Angel's Share" is a Scottish comedy/drama/redemption film.  The film gives you a suspension from reality that is sheer inebriated bliss.  Why does it seem only Independent foreign film makers have mastered the genre of ordinary people who accomplish extraoardinary things in the most amusing way?  I don't know, but I do know this is a movie not to be missed.  The director, Ken Loach, won the Palm d'Or for "The Wind that Shakes the Willows" ('08) a searing Irish Civil War drama.  With "The Ange's Share," Loach adds a light hearted touch to the violent & dead end lives of several young people who are united in their court ordered "community payback," under the compassionate mentoring of Harry (John Henshaw,) British Indep. Film Award winner.   Our protagonsit, Robbie, (Scottish Award Winning actor) has a girlfriend about to give birth to his son. Robbie also has a history of violence, drug addiction and imprisonment.  He is granted leniency by the judge for assaulting a group of low life thugs who make his life a living Hell.  Instead of jail time, he is ordered to fulfill 300 hours of community payback where he meets up with a band of misdemeanor misfits under Harry's charge.  Harry cares for Robbie beyond the call of duty as he witnesses the violent, relentless cycle Robbie is mired under.  Robbie wants to become a peaceful, responsible father & partner but doesn't see how this is possible.  However, he does possess cunning & leadership skills.  He orchestrates an ingenious caper with 3 other numbskulls in his group.  The opening scene where one of the pack falls back on the track is hilarious but the movie quickly turns dark.  The movie takes numerous surprising turns; all with deep  poignancy.  The movie speaks to second chances.  Do not miss your chance to see this unique gem.

Sunday, March 24, 2013

The Madrid - I'm Taking a Contract out on the Play

The Madrid is simply dreadful.  The script is awful, the acting is amateurish and the entire production is without any redeeming qualities.  Martha (Eddie Falco) leaves in the middle of teaching her kindergarden class.  By leave, I mean leaves the school (social services should have been called in,) and her family; her husband Danny (Darren Goldstein,) a 22 year old daughter, Sarah (Phoebe Strole) and her nasty (I'd leave her, too) mother, (Frances Sternhagen) without so much as a note, a good-bye or any good reason we can discern.  There are several other characters & story lines that only added to making the play more unbearable.  I can't fathom why I didn't leave at intermission.  But in my defense,  I'd already served time & was hoping for some resolution or redemption.  At the very end Martha returns home to her husband and daughter.  By this point, I didn't care except for being glad the play ended.  Where is Tony Soprano when you need him?

Wednesday, March 20, 2013

Tom Hanks is in Lucky Guy - Luckily for the Play

Nora Ephron's new play Lucky Guy, is being performed on B'wy posthumously.  Ephron, sadly passed away last year.  She is highly regarded as an eminently talented author, movie director and playwright with 3 Acad. Award noms. for scriptwriting.  She began her writing career as a newspaper reporter.  I find it ironic that Ephron, whom I dub "queen of the chick flick genre," returned to her roots by writing a play about factual NYC newspaper reporters during the '80's & 90's .  The lead character, played with Tony winning charm by 2 time Acad. Award winning actor, Tom Hanks, portrays the Pulitzer Prize winning reporter (Mike McAlary.)  Newsrooms at that time were predominately a male macho dominated vocation.  The talented ensemble cast of veteran actors includes:  Courtney Vance (Hap Hairston,) Peter Gerety (John Cotter,) both editors, reporters & co-workers of McAlary along with the Emmy-nom. actress, Maura Tierney (Alice McAlary.)  Ephron's structure for the play evokes a deceptively simple frame work surrounding the too good to be true, all I want to do, is be a reporter, shucks, guy (McAlary.)  Well...until fame, fortune & an overblown ego take over.  Still, notorious, clandestine stories of the day were unmasked by ace reporters such as McAlary, who are now a dying breed (along with newsprint.)  "You're born, you die & everything in between is a story."  This story benefitted from the winning cast that put the play on page 6 rather than buried on page 17.  I enjoyed the play but recommend instead, the doc. film "Koch," for an indepth look into NYC and its disturbing & divisive issues at that time.  A "Kotcha" headline was referred to in the play, as was "Mike's malarky."  Perhaps, Melinda's malarky has become a relevant source.

Sunday, March 17, 2013

AILEY II - 2 Reviews for 2 Astonishing Programs

AILEY II is in an elitist modern dance companies that has been under the artistic direction of the revered Sylvia Waters for almost IV decades.  Waters, a former founding dancer with Ailey was selected by Mr. Ailey in '74.  Waters has steered the company on its consummate level of excellence.  Last year, Ms. Waters passed the baton for the 1st time to Troy Powell, a former dancer with Ailey II & Alvin Ailey Amer. Dance Theatre.  Powell is regarded as one of the most talented choreographers of the 21st C.  The 2 alternating programs were:  Returning Favorites & All New.  The program Returning Favorites featured Ailey's Quintet ('68); restaged by Ms. Waters, Jamison's Divining ('84),  & Powell's The External Knot (07.)  The program was a perfect demonstration for the evolution of the Ailey Co. beginnning with 3 of Ailey's iconic artists & driving forces, to the capable hands of Troy Powell.  Powell's The External Knot is a very inventive & artistic comoposition.  The All New program featured One Forgotten Moment '(12) (the best rumble choreography since Robbins' W. Side Story,) an excerpt from Splendid Isolation II ('06,) Rusty (12) and Virtures ('12.)  I was totally mesmerized by the powerful elegance of the solo dancer in Isolation whose movements constrained within an immense white gown were divine.  Virtues was breathtakingly beautiful. All he dancers all performed with graceful athleticism and artistic brilliance, they are truly a gift for Mr. Powell.  I want a redux on the 2, Ailey II performances.  BRAVO!

Saturday, March 16, 2013

The Last 5 Years 2nd Stage - See it while it Lasts

The Last 5 Years @ 2nd Stage Theatre delivers a 1st rate, 2 character musical that portrays a marriage gone painfully awry.  The cleverly staged show plants the muscians on the back wall.  The very talented singers/actors Jamie (Adam Kanter) & Cathy (Betsy Wolfe) take us through the rush of initial attraction, to marriage and through the fissures that irreparably tear the couple apart.  The play begins with Jamie leaving and Cathy removing her wedding ring.  Cathy sings poignantly of the hurt she still feels, questioning why Jamie "was so certain we had no chance," and of the "scars she did not earn, what lessons to be learned?"  It 1st appears Jamie is clearly at fault for ending their marriage.  Knowing their love is ill-fated makes the story told in hindsight all the more sorrowful.  Yet, hindsight is 20/20 and neither is blameless for "breaking the circle."  Both Kantor & Wolfe are seasoned B'wy musical veterans with beautiful singing voices & honed acting chops.  Thanks to the sophisticated script and songwriting by Tony winner Jason Robert Brown, the 5 year relationship moves at rapid pace.  Jamie sings of a "limited time to be happy and how lucky it is to be in love."  I sing praises for this show.  I loved it!  

Wednesday, March 13, 2013

Sculptures by Arrechea on View on Park Avnue

NYC we love it!  We also love the public artwork on view for all New Yorkers (& tourists.)  On Park Ave, 54th-67th, there are amazing, large scale sculptures (some up to 20') by the Cuban born artist, Alexandre Arrechea.  Arrechea entitled this exhibit, "No Limits."  These works mirror some of NYC landmark buildings:  Flatiron, Chrsyler, Citicorp.  They are towering, impressive structures that demand your attention.  They structures interact with the viewer, casting reflections back to the viewer giving a fierce yet engaging reaction.  The works are reminiscent of "Big Brother Watching," all too prominent in NYC.  I do believe that cameras monitering public places mitigate crime, particularily violent crime.  I would like to get rid of "gotcha" stop-light cameras.  Anyone able to fix my ticket?  (Oh well…)  Some of Arrechea's drawing have become part of MoMA's permanent collection.  He first came to attention in the States with his "Garden of Mistrust," public sculpture in LA, '03-05'.  The sculpture  was of a stark white tree with multiple video cameras poking out - reminding me of the trees from the original Wizard of Oz  (not the brainless OZ remake.)  In '97, Arrechea received 1st prize in the Contemp. Art People's Award in Argentina & in '00, he was awarded the Fomento de las Artes Award in Cuba.  I recommend strolling down Park Avenue (speeding by not recommended) and walk around  the impressive sculptures that enhance the beauty of Park Avenue & our fair city (except for the despised clandestine cameras.)

Monday, March 11, 2013

Paquito D'Rivera Jazz @ Lincoln Center

Paquito D'Rivera & his orchestra performed in the Allen Room overlooking Columbus Circle,  "Charlie Parker with Strings."  D'Rivera is a Cuban born, Latin jazz legend.  His music is a jazz fussion of  Latin, blues & classical music.  His lush orchestra, in addition to a another saxophonist, jazz pianist, bass player. clarinetist & drummer, combined 6 violinists, 2 violists,  2 cellists & a harpist.  D'Rivera was in a very jocular mood & shared with us  "I love the harp, I was married to a harpist, for about 9 months."  His love & admiration for Charlie Parker was far longer lasting than this marriage.  "All tributaries of contemporary jazz expression lead back to alto saxophone giant Carlie {Bird} Parker, whose inventions have been paying all jazz musician's rents for the the last 50 years."  D'Rivera the jazz arranger-composer, saxophonist extraordinaire, performed for us classic jazz standards surrounded by string arrangements giving everything a classical, Latin twist.  What he didn't give us, were many Parker compositions or arrangements which left me baffled.  Though confused as to the misrepresented tribute, I took great plseasure in the toe-tapping, rhythmic blend of jazz, Latin & classical sounds.  For those critical purests who felt slighted,  I say "Tico-Tico," (D'Rivera) - I found the entire program, "Easy to Love," (Porter.)  Furthermore, being a purest is limiting & the poorest way to appreciate the best of what jazz has to offer.

Russian Nat'l Ballet's GISELLE @ Lehman Ctr

Giselle, I will tell, is a puffy, frilly ballet.  All tulle with very little substantial dancing.  Or dare I say, a chick pick ballet.  There is a lot of prancing & frolicking in peasant attire. Giselle, the heroine, dies of a broken heart as a result of a faux commoner, (a real count) who is a royal pain.  He is already betrothed to another yet feigns love for Giselle.  Act I ends with poor Giselle swooning to her death amidst much  mourning. Meanwhile the "outed" Count slinks cowardly out.  The 2nd Act takes place at night in the cemetery where Giselle is buried.  Stealthy creeps the remorseful Count carrying a bouquet of flowers to place upon Giselle's grave.  When suddenly the ephemeral ghostly presence of Giselle appears amidst a bevy of feline phantoms who want vengeance.  Giselle is far too forgiving.  She saves the Count by dancing with him until dawn to keep him alive.  This scene can be seen as in the Corps de Ballet of Swan Lake; yadah yadah.  Giselle was 1st performed in the mid-19th C and has sustained legs since then in countless productions with numerous international companies.  It was a perfectly beautiful day at the ballet, especially since the Yankees haven't had their opener yet & March Madness hasn't begun.  Let the games begin & GO BADGERS!

Oz in 3D - "There's no place like home."

The new 3D Oz is a prequel to one of the most beloved movies of all time, "The Wizard of Oz."  This  movie possess few if any, original ideas; if it only had a brain, or a heart.  It mainly follows the yellow brick road storylines, characters & scenery except in 3D.  Oz does feature 3 of the most beautiful & talented actresses:  Mila Kunis, Rachel Weisz & Michelle Williams.  At least these actresses showed some courage with this lackluster script.  James Franco, the great & powerful Oz, brought little magic to his role & a creepy Cheshire Cat smile (perhaps he was in a different movie altogether.)  Glinda the Good Witch (Williams) kept telling Oz "You can do anything if you truly believe."  I truly cannot believe anyone would want to see this movie, it's all hot air & foolish monkey business.  And, where did central casting conjure up so many pathetic extras?  I never realized the power extras had to muck up a movie.  You'll know you're not in Kansas when you see this film.  You'll find youself saying "There's no place like home."

Wednesday, March 6, 2013

2 - 1 Woman Shows, "Jackie" - "Ann"

I have never reviewed 2 plays simultaneously.   But then, I have never seen 2, 1 woman shows back to back that beg comparison.   Both plays are of 2 iconic women of the 20th C who tell us their life story from the grave.  Jackie, refers to Jackie Kennedy Onassis and Ann is about Ann Richards. Both ladies were directly/indirectly connected with politics and Texas is significant in their seminal moments.  To get right to the point, as Ann would do:  I veto Jackie while Ann makes for a real power play.  "Jackie" is written by Elfriede Jelinek, who won the Nobel Prize for Literature in 2004.  "Jackie" is a macabre, avant-garde production that takes itself superciliously.  Jackie  speaks of the horrors of her husband's assassination in gruesome detail.  She also wails on about how she perceived how the public perceived her:  a mannequin in Oleg Cassini's stylish but not too provocative clothes.  "Ann" written by & starring Holland Taylor, a 1st time playwright & 7 time, emmy winning actress is inspirational.  Taylor brings Richards life & legacy as Texas' Governor 1990-94 on stage in a thorougly captivating & entertaining show.  This multi-taksing, maverick with a mouth in the gutter and a heart the size of Texas makes for a trail-blazing production and left me wishing I had met her.  Ann left her successor (George W. Bush) a quote, "Love the good, hate the evil and establish justice."  I loved the play "Ann," hated the play "Jackie," but in fairness, I don't think Jelinek did her justice.  

What to Look for When You Look at Art - TribecaY

 This 1 1/2 hr. seminar, "What to Look for ...," with speaker Gene Wisniewski differed from my previous Tribeca seminars.  No introduction or credentials were given for the speaker, Wisniewski did provide outline handouts for us and he was not selling a book.  Wisniewski is a painter & a recipient of the Robert Rauschenberg Fdtn. Grant, '08.  At 1st it seemed another bait & switch on the topic.  The seminar began with a general art appreciation overview & discussion of the functions of art;  basic & disappointing.  However, once having laid this groundwork, Wisniewski went on to explore approaches which provided insight into the technical skills of the artist.  We looked at identifying the artist's hand and at freedom vs. control in painting.  The importance of viewing orignal work & how to approach the art was illuminating.  Even more interesting was the discovery of compositions and intent of the artists.  I became drawn into the lecture.  Other highlights included transitions/relationships within a painting & the use of colors as an expressive element.  This seminar was unique for its interesting subject matter and for accomplishing its objective.  There was not a hidden agenda with this talk.  He did point out a sign in a painting that read, "Unless what you have to say is more important than silence, remain silent."  As usual, the audience's comments were self-aggrandizing & they should have remained silent.

Sunday, March 3, 2013

Martha Graham Dance Co. @ Joyce

I confess to stereotyping Martha Graham's choreography as Norma Desmond posing for the camera in a stretchy costume, trying to be avant-garde.  I justify my preconceived notions from her choreography, "Cave of the Heart," 1946 and videos taken of Graham.  There is a great deal of remaining in one position with flaying limbs and crazed expressions of angst.  Graham is regarded at the forefront of modern dance in America.  The program forced me to contemplate what constitutes dance & modern dance (MD).  Dance, is a series of movements that capture an expression or aesthetic as it relates to music or sound.  Modern dance is an interpretation of movements outside the confines of a specific structure.  Emotions are the driving forces in MD.  Irregular or unspecific movements such as lying or falling are often seen in MD.  MD blurs the boundaries between dance & performance art.  To sustain itself,  recent choreography has been incorporated into the Graham Co.  Yvone Rainer's Lamentation variation (2007) consisted of a "Martha Graham" figure squatting on a block from which she never moves except to pull long purple tulle through her elastic costume and to turn away from the strobe light shone in her face by Janet Eilbert, the Company's Artisitic Dir.  This was one of a trio of tributes to 9/11.  The program ended with "Variations of Angels" an homage to MG's work.  I appreciated that Graham's style formed a strong foundation and future impact on later choreographers such as deMille and Ailey.  "We don't know about the past, except as we discover it. And we discover it from the now," M. Graham.  Graham said in her video, "there is one person to whom you speak in the audience."  I was not that one person.