THE MICHIGAN DAIEY STED ROLLD DR SPRING IS MARTHA GRAHAM HERE An Appreciation The Vegetarian Society is goingAnpreito to give a nice dinner soon at which, By Robert Henderson it is stated, a talk about "Be Kind To Animals By Not Eating Them" The first point that catches the is to be featured. This, we under- attention as you meet Miss Gra- stand, is to be followed closely by ham is her jet black hair - one a "Be Kind To Everybody By Not could call it her "flaming" black Eating Them" campaign which will hair -which hangs so straight and ultimately result in the elimination severe to her shoulders where it of War as an instrument of Na- tional Policy. has been sharply cut off in a rigid * * * line. There is her black, black hair On second thought, however, and her black eyes to match which this does not sound quite so alternately burn and grow dim as good. It is fairly obvious that, the fervor within her glows and havigeliminated War we must eliminate Battteships with the dies. Her face is a thin white mask IT ISEHARD TO ~ EXCEL A. T. Cooch &Son for Quality & Service in Shoe Repairing f y PLUMBING HEATING REPAI RING WILLIAM HOCHREIN & SONS' 211 South Fourth Ave. 1109 South University Phone 5014 t possible excention of one or two with red imploring lips. Martha1 Graham is the most sensitive artist I have ever known. Everything passes over her face; she needs never utter a word to be under- stood. Blanche Yurka, who is a star in the production of the "Elec- tra," is a Viking in her tempera- ment. Things cannot hurt her; with her fund of frankness and en- thusiasm she brushes through every difficulty. With Martha Graham it is differ- ent. A wrong movement on the stage, a misplaced piece of action actually physically hurts her. She is so perfectly attuned to the sim- ple and true economy of means that anything artificial or theatri- cal fairly slaps her in the face. A director quickly learns not to hurt her. In rehearsing the "Electra" we have used the method of working, mornings and afternoons with Miss Yurka and the company in the re- hearsal hall; and at night we take the entire production to Miss Gra- ham's studio, where she corrects and amends all of the stage "bus- iness" that has been worked out during the day. As far as I know, this is the first time in an Ameri- can production where a distin- guished dancer has been used as 1 an actual "force" in the theatre; not merely as an inserted ballet- master,ebut literally as a codirec- tor. The "Electra" is doubly for- tunate in having such direction from so brilliant and simple an artist as Miss Graham. In many ways, the real inspiration of the production was the engagement of Martha Graham not only to dance but to direct the action of all the actors as well. The utter simplicity, the almost "peasant" flavor of the performance which she has given it is obviously the glowing feature of the entire production. In the "Electra" Miss Graham does four dances in addition to an important scene at the very end of the play. It is a mistake to call them dances, in the ordinary sense of the word, for they fade in and out of the regular course of the action that they are definitely an integral part of it. Rather these "dances" serve to intensify and heighten each important climax; first at the beginning of the play where the boy Orestes returns to avenge his father's murder, then just before the entrance of the cruel Queenmother, next the dance of lamentation when Electra thinks that Orestes has been killed, and finally where the revenge is ac- complished at last. To describe these dances is near- ly impossible if you have'not seen Martha Graham dance before. Some have compared her to Mary Wigman, the German dancer who has just scored such a sensational success in this country. At best the comparison is superficial, for Miss Graham has never been to Ger- many and her work is so uniquely her own. Critics speak of her "pas- sionate asceticism," of her "divine simplicity," and all are unanimous in their praise of her extraordinary economy and technical resourceful- ness. Certain metropolitan papers have referred to her "stylized" dances. Miss Graham laughs when you mention the phrase to her,nfor she has no idea what it means. Her art is so much a part of her and' so vividly springs from her own convictions of truth and beauty that she could express herself in no other way. Today she is the critic's darling; they are agog over what they consider a "discovery." Their columns in the new York papers resound with her praise aft- er each of her recitals. Again Miss Graham smiles. "I was just the same four years ago," she says, "when they hurled abuse at me. Perhaps they are just catching up to our ideas." Today Martha Graham stands as the foremost woman dancer in America. 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