Repertory 2018-06-05T14:54:51+00:00

The Company’s repertory includes Graham classics as well as new works by today’s top choreographers. Available rep varies from season to season.


Acts of Light (1981)

A glorious neoclassic work in three parts: Conversation of Lovers, Lament, and Ritual to the Sun.

Score: Carl Neilsen
Costumes: Halston

American Document (2010)

A provocative, contemporary theater piece using spoken work and movement to evoke the essences of America, created in collaboration with Ann Bogart, Charles Mee Jr. and SITI Company.

Lighting: Brian H. Scott
Score: soundscape by Darron L. West
Costumes: James Schuette

Appalachian Spring (1944)

Graham’s beloved masterwork and “a testimony to the simple fineness of the human spirit.”

Score: Aaron Copland
Set: Isamu Noguchi
Costumes: Martha Graham

Cave of the Heart (1946)

A shattering study of the destructive power of love inspired by the story of Medea.

Score: Samuel Barber
Set: Isamu Noguchi
Costumes: Martha Graham

Chronicle (1936)

Graham’s stirring response to the rise of fascism in 1936 and to the unmatched power of the collective will.

Music: Wallingford Riegger
Set: Isamu Noguchi
Costumes: Martha Graham

Clytemnestra (1958)

Graham’s masterpiece of contemporary theater and her only full-evening work, the characters and tragedy of the Trojan War resonate with today’s themes.

Music: Halim El Dahm
Set: Isamu Noguchi
Costumes: Martha Graham and Helen McGehee

Dance is a Weapon (2010)

A multi-media montage connects five seminal works from the 1930s and explores the political context surrounding early modern dance with stirring relevance to today’s most pressing social issues.

Choreography: Duncan, Maslow, Gentry, Dudley, Graham
Music and Costumes: Various

Dark Meadow (1946)

One of Graham’s most psychological and abstract works, and noted for its extraordinarily poignant and intricate work for the danced chorus.

Music: Carlos Chavez
Set: Isamu Noguchi
Costumes: Martha Graham

Deaths and Entrances (1943)

A prime example of Graham’s early psychological works, the dance is inspired by the lives of the three Brontë sisters and the struggle of women to follow their deepest impulses in the face of convention and tradition.

Music: Hunter Johnson
Set: Arch Lauterer
Costumes: Martha Graham

Deep Song (1937)

A deeply resonant response to the Spanish Civil War, a cry of anguish, this solo is an embodiment of Graham’s fears for a world torn apart by man’s inhumanity to man.

Music: Henry Cowell
Set: Martha Graham
Costume: Martha Graham

Diversion of Angels (1948)

An ensemble work for the company and a joyous, lyrical, abstract essay on the infinite aspects of love.

Music: Norman Dello Joio
Costumes: Martha Graham

El Penitente (1940)

With a modernist style evoking primitive or naïve art come to life, this dramatization is based on the rituals of the American Southwest. We see a troupe of strolling players enact vignettes from the Bible.

Music: Louis Horst
Set: Isamu Noguchi

Embattled Garden (1958)

A contemporary take on the Garden of Eden and a frankly erotic romp, this tragi-comedy explores the timelessness of temptation.

Music: Carlos Surinach
Sets: Isamu Noguchi
Costumes: Martha Graham

Errand into the Maze (1947)

Loosely derived from the myth of Theseus, who journeys into the labyrinth to confront the Minotaur, this duet sends a woman on the mission. The maze may be her own mind and the confrontation may be with her own fears.

Music: Gian Carlo Menotti
Set: Isamu Noguchi
Costumes: Martha Graham

Heretic (1929)

A fine example of Graham’s earliest revolutionary modernism and her recurring theme of the struggle for individuality.

Music: traditional folk song
Costumes: Martha Graham

Lamentation (1930)

Graham’s signature solo — the essence of grief itself.

Music: Zoltán Kodály
Sets: Martha Graham
Costume: Martha Graham

Lamentation Variations

Short works for the company inspired by Graham’s iconic solo and created by some of today’s most note-worthy choreographers. A film of Graham is followed by three variations from among those by Aszure Barton, Larry Keigwin, Lar Lubovitch, Josie Moseley, Richard Move, Bulareyaung Pagarlava, Yvonne Rainer and Doug Varone.

Music and Costumes: Various

Maple Leaf Rag (1990)

An instant audience favorite and a humorous and loving tribute to the choreographic muse and the music of Graham’s youth.

Music: Scott Joplin
Set: American Folk Art
Costumes: Calvin Klein

Night Journey (1947)

One of Graham’s greatest masterworks. A chilling reinvention of the tragedy of Oedipus told through the eyes of his mother and wife, Jocasta.

Music: William Schumann
Set: Isamu Noguchi
Costumes: Martha Graham

Panorama (1935)

A rallying cry for social activism created for 33 students and often performed with the Company as part of Prelude and Revolt or Dance is a Weapon by students at the University where the Company is touring.

Music: Norman Lloyd
Costumes: Martha Graham

Phaedra (1962)

A reflection on “the truth about physical passion, untempered by conscience, decency, or civilized principles” based on the Greek tragedy of the queen who lusted after her step-son.

Music: Robert Starer
Set: Isamu Noguchi
Costumes: Martha Graham

Primitive Mysteries (1931)

A stark, modern abstraction of religious ritual born out of Graham’s deep connection with the ceremonies of the natives of the American southwest. The work was hailed as a masterpiece at its premiere and launched Graham as a major force in American art.

Music: Louis Horst
Costumes: Martha Graham

Satyric Festival Song (1932)

An early, witty solo in which Graham mocks her own serious reputation.

Music: Fernando Palacios
Costumes: Martha Graham

Serenata Morisca (1916)

A solo created by Graham’s teacher, Ted Shawn, and a prime example of American dance in the early 20th Century – the sort of dance against which Graham rebelled.

Choreography: Ted Shawn, reconstructed by Martha Graham
Lighting: Thomas Skelton
Music: Mario Tarenghi
Costume: Martha Graham (after Pearl Wheeler)

Snow on the Mesa (1995)

A magical evocation of Graham as an artist by Robert Wilson, and a dance/theater piece in twelve sections which uses abstract forms and movements to recall the American images that gave meaning to Martha’s work and her life: elements from Shaker life, and the deserts of the American southwest, the designs and myths of its aboriginal inhabitants.

Robert Wilson
Set: Robert Wilson
Lighting: AJ Weissbard
Costumes: Donna Karan

Steps in the Street (1936)

A stark, explosive response to the devastation and isolation that war leave in its wake. Performed separately or as the center section of Graham’s Chronicle.

Music: Wallingford Reigger
Costumes: Martha Graham