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Martha Graham's style is best known for its awkward, distorted and abrupt movement, showcasing flexed feet, bent limbs and hunched bodies. Saturday night at the Carlsen Center at JCCC, the dancers embodied Graham's unconventional, expressive and utterly distinctive technique to the max.

Clytemnestra, based on Greek mythology, is Graham's only full-length work, and was choreographed about halfway through her 65-year career. She often chose women as the focus of her works, particularly women whose stories are less familiar. She paired the protagonist's tragic story with dark, elaborate costumes and a striking, intense score, reminiscent of Stravinsky's Rite of Spring.

Unlike most stories, this one starts at the end. The Messenger of Death - not exactly the Grim Ripper, but still a very controlling presence - opens the scene and takes the audience to the Underworld. The well-known characters Hades, Apollo and Athena are present along with lead female, Clytemnestra. The Prologue mainly served as an introduction to her fellow spirits as well as a preview of experiences leading up to the present moment. A teleprompter with subtitles, located above the stage, aided the audience in following the storyline and keeping track of the characters. Operatic-like lyrics also added narration to climactic points.

From the beginning, Clytemnestra proved a force to be reckoned with. Katherine Crockett, who played the great Queen, gave a captivating performance that would have made Graham proud. Crockett stood out from the other dancers with her larger-than-life movement and spot-on expressive portrayal. She pulled the audience in, beckoning them to follow her compelling and devastating journey.

Throughout the following three acts, events unravel as the Night Watchman prepares to announce the fall of Troy and the end of the war. Clytemnestra relives events, including Agamemnon sacrificing the life of her daughter, Iphigenia, and Clytemnestra almost killing her son, Orestes, as revenge. (But is stopped by another daughter, Electra.)

Clytemnestra and her lover Aegisthus, plot to kill Agamemnon and upon his return, she begins her act of seduction to do so. This preparation dragged on, lasting virtually the entire second act and led up to an incredibly uneventful and almost mocking murder scene.

Agamemnon returns to haunt Clytemnestra and to compel Orestes and Electra to kill her and Aegisthus. The story ends where it began - in the Underworld. Apollo and Athena - the only light and graceful dancers in the piece - judge Clytemnestra and Orestes, granting them rebirth and putting an end to the family's curse.

In its entirety, the piece was conflicting. On one hand, the dancers had the drive and dedication, but the production seemed to go on forever without ever really accomplishing anything. The storyline was slow-moving, disorganized and repetitious, but apart from that, the actual dancing was sensational.

The Company's dancers are clearly masters of the Graham technique. Their bodies were in perfect physical condition and their movement was strong, grounded and precise. Obviously, Clytemnestra was the crowd favorite, but Jennifer DePalo as Electra was, no pun intended, electrifying. Aegisthus (Maurizio Nardi) was dutifully sly and sprightly, while Tadej Brdnik as Orestes was steadfast and solid. Samuel Pott, who played Agamemnon, gave the only unconvincing portrayal, coming off as stiff and dull.    

In the end, Graham's avant-garde, unmistakable movement shone through, especially one signature move - the back slide. Her timeless technique, which laid the foundation for modern dance so many years ago, has resurged into the 21^st century and continues to be influential to contemporary companies also striving to break boundaries to create art.


REVIEW:
The Performing Arts Series at JCCC
Martha Graham Dance Company
"Clytemnestra"
Saturday, March 13, 2010
Carlsen Center at Johnson County Community College
12345 College Blvd, Overland Park, KS
www.jccc.edu/TheSeries

By Laura Vernaci

Dance Contributor

Laura Vernaci is a Kansas City native who has always been passionate about the arts, particularly dance. She began dance lessons at the young age of five and hasn't stopped since. She trained at the Kansas City Ballet where she became a serious dancer and learned about a professional company. 

She attended Butler University in Indianapolis, IN where she majored in dance. She transferred to Truman State University in Kirksville, MO in 2006 and received a degree in Journalism in May 2008.  Laura spent the 2008-2009 in Duluth, MN dancing professionally for the Minnesota Ballet. She performed in productions such as, "The Nutcracker," "Cinderella" and "Coppelia" as well as world premier ballets created on the company.

She recently moved back to Kansas City and is excited to combine her experience in writing with her passion for dance. In addition to performing and writing, Laura also enjoys teaching dance and choreographing.