Martha Graham Dance Company
Saturday, February 14, 2026
Zellerbach Hall UC Berkeley
“Remembrance of things past”
Cal Performances brought the Martha Graham Dance Company to Berkeley on February 14, 2026. For those of us (probably few left) who studied with Graham years ago, and all who had never seen the work, it was a very memorable event.
Artistic Director Jane Eilber, (former company member), conversed with press people at intermission. She cited the challenge to bring works, premiered decade ago, to new audiences. The audience on the evening of February 14, (to my view) were primarily an “older” group, those who had seen or remembered the Graham dance works from earlier times.
To extend this program, a dance “Cortege” was also presented by Baye & Asa, a 2023 New York premiere.
Graham’s works are essential dramatic: “Night Journey” employes dramatic gesture and “extended’ dance movement. The major characters are Jocasta (danced by Anne Snider), Oedipus (Lloyd Knight) and Tiresias (Ethan Palma). These three interact the “Daughters of the Night” who compose the chorus.
For audiences who are familiar with Greek drama, this event is rewarding and ecstatic, bringing the ancient story alive on stage. This audience greeted the event with extended applause. I was delighted to see “Night Journey” again after many “New York” years of performances and study with Graham, for a short time at her 63rd Street studio.
The style of her time, particularly in dramatic story telling Is essential mimetic, although Graham’s choreography extends gesture to its widest and most dramatic possibilities. The major cast, Ann Souder (Jocasta), Lloyd Knight (Oedipus), and Ethan Palma (Theseus) are accompanied by the chorus led by Marzia Memoli. The event is “dance drama”, its ultimate presentation. The work was superbly performed: the chorus marvelous.
For audiences who have seen “modern” dance beyond Graham this style may appear limited; yet it is perfect for its dramatic content. After Graham, choreographers (particularly Cunningham) employed less mimetic gesture and left story- telling to the ‘musical theater’.
The other work “Cortege,” choreographed by Baye & Asa was a long and extended exploration of group movement interspersed with remarkable solos and duets. It “draws inspiration of Graham’s “Cortege of Eagles” which dramatizes a version of the “crumbling of the Trojan Empire.” Program note cites, “Baye & Asa’s “Cortege” places the burden of fate on the ensemble.” It was extraordinarily performed by eight dancers.
See Cal Performances program notes on line for full information.)
It was inspiring and moving to see these works and remember the genius that Graham brought to the dance. She challenged the ballet world, engaged new audiences, and brought the future of the ‘modern dance’ into reality.