Charles Weidman

“Lynchtown” (1936), probably Weidman’s best known work, is an indictment of lawlessness and group anarchy. It is one section of a three-part work called “Atavisms.” Members of the Sokolow Theatre/Dance Ensemble (Samantha Géracht, Eleanor Bunker and Lauren Naslund artistic directors) honored Sokolow’s commitment to chilling psychology interpreting Weidman’s choreography. (Sokolow was a Graham acolyte who went off on her own artistic path.) The earth-colored paneled costumes (courtesy of Kanopy Dance) were a kind of camouflage for the large group of dancers led by the Inciter (Margaret Mighty Oak Brackey). They slinked in, stalking their poor Victim, Sam K who was distinguishingly dressed in blue. Their initial stilted, flex-footed walk slowly deteriorated into skitters, off-balance tilts and turns and stomps which turned into a pileup with the Inciter on top, scouting for their quarry. Lehman Engel’s strongly percussive music supported the choreography perfectly as the Victim is trapped like an animal and dragged to his fate. In its time, “Lynchtown” was a strong work and still retains much of its power. [more]