Limón Dance Company brings Rarely Seen Masterworks and Two Premieres
Founder, genius and visionary José Limón (1908-1972) was a protegee of Doris Humphrey, one of modern dance’s celebrated early pioneers. Limón is known for transforming the art form with his views of humanity influenced by his background as a Catholic, Mexican American and male artist. Named as one of America’s “Irreplaceable Dance Treasures” and honored on a U.S. postage stamp, Limón’s prolific body of 74 works are informed by his 10 years performing with the Humphrey Weidman Company as well as his deeply rooted technique.
The Limón Dance Company actually has Philadelphia roots. In 1971, Limón founded the little-known José Limon Philadelphia Dance Theater. In the 1980’s, company members Susan Hess of Susan Hess Modern Dance and Ann Vachon, Professor Emeritus at Temple University, offered Limón Technique classes, a specific technique that’s now taught worldwide as a foundation for college and academy programs. Limón himself taught it at The Juilliard School in the 1950’s. Doug Varone and Dancers and others continue to teach his style.
The Limón Technique is based on body dynamics using fall and recovery, suspension, weight, gravity, breath, musicality, lyricism and theatricality to create expressive, powerful and timeless dances. The early 20th century modernists were free-thinkers, radicals and revolutionaries who were determined to create works as artistic statements free from the constraints of classical ballet.
Audiences might recall seeing Limón’s unforgettable 1949 masterpiece, The Moor’s Pavane, based on Shakespeare’s Othello. The original cast featured Limón as Othello, with Lucas Hoving as Iago, plus Betty Jones and Pauline Koner as their wives. Exploring themes of love, lust, betrayal and rage, the work made its Broadway debut in 1974-75 starring Rudolf Nureyev. Philadelphia performances of this work appeared in 1985, 2007 and 2017 as well as a restaging for the Pennsylvania Ballet (now Philadelphia Ballet). Other memorable works include The Traitor (1954), There is Time (1956), Missa Brevis (1958) and A Choreographic Offering (1964), his homage to Doris Humphrey. As Limón states in the documentary A Life Beyond Words, produced by Ann Vachon, “All choreography is autobiographical, whether one intends it on not.”
Limón Dance Company’s program features classic and reimagined Limón works plus two Philadelphia premieres. Limon’s The Traitor, last seen in Philly in 2007, was originally performed by eight men including Limón and Hoving. The latest version features a cast of mixed genders and gender identities. Set in biblical times in Gethsemane to Gunther Schuller’s brassy musical score, this is a tale of passion, trust and betrayal filled with tenderness and violence. It was created during the McCarthy period when fear of communism haunted the arts and entertainment industry. The government was asking citizens to come forward and betray their neighbors, friends and family. The Traitor is also a nod to the biblical story of Jesus and Judas’ betrayal. Props include a tablecloth that is shrouded around like a biblical robe and men seated around it in a tableau similar to the Last Supper. The physical vocabulary is distinguished by stunning partnering and group lifts, a solo where the torso expresses the deep emotions and duets and ensemble sections that showcase the Limón Technique.
In contrast, Scherzo (1955), a Philadelphia premiere, is a sprightly and jovial piece inspired by the musical form heard in madrigals in the early Baroque period. Italian for “joke” or “jest,” the dance is a joyful celebration of life. Set to Hazel Johnson’s rhythmic score in triple time, Limón’s whimsical choreography features a quartet carrying drums who cavort and freely move through the space, using body percussion and sound to enchant audiences.
Dance history fans may be fascinated by the rarely seen Two Ecstatic Themes (1931), a striking solo, choreographed by the iconic Doris Humphrey, performed by Mariah Gravelin, restaged using a Labanotation score provided by the Dance Notation Bureau.
Choreographed by 2022 Bessie Award-winner Kayla Farrish, The Quake that Held Them All (a Philadelphia premiere) takes inspiration from Limón’s powerful Redes (1951) and El Grito (1952). Farrish, a rising voice whose innovative multi-disciplinary work has been recognized by Sundance, The New York Times and a Harkness Promise Award, is an African American woman from the South. She brings her unique perspective to The Quake that Held Them All as a female of color searching for identity and community in today’s world much like Limón was exploring his cultural identity in El Grito.
“El Grito” is Spanish for cry or yell. Limón’s original version is thought to have been inspired by Father Miguel Hidalgo y Costilla, a priest who rang the church bells calling Mexicans to rise against the Spanish Crown and fight for independence on September 16, 1810. “El Grito” continues to be shouted by the country’s president each year as part of Mexican Independence Day celebrations.
Dante Puleio, Limón Dance Company’s Artistic Director and University of the Arts alum, notes, “Kayla and I have been working together the past year and half digging through archives and researching this lost work of Limón's. Originally titled Redes and later renamed and rechoreographed as El Grito. Her dedication to the research has inspired a raw and thought-provoking work that takes us through a powerful, physical and emotional journey. It leaves me holding my breath with each run and I can't wait to share it with the world!”
We are eager for audiences to experience this new work and be part of the conversation started by Limón over 70 years ago, now renewed by Farrish.
