Word: weidman
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...other modern dancers appeared on the scene, Martha Graham seemed less of a freak. Mary Wigman visited the U. S. for three successive seasons, left pupils in her wake. Doris Humphrey and Charles Weidman are Denishawn products who have gone far on their own. Helen Becker, who calls herself Tamiris, dances with rare drive and energy, stomps her heels as does no one else. Harald Kreutzberg was hailed as a modern at first, partly because he was one of the early Wigman pupils. Now, despite his amazing virtuosity, purists consider him too theatrical, too obvious with his miming...
Doris Humphrey and Charles Weidman have a following second only to Martha Graham's. Essentially they have the same credo, the same vigorous pace, the same inner urge to let the body speak for itself. Average theatre audiences can appreciate a Humphrey-Weidman recital, see frequent glimmers of a plot that can be translated into words. Though Martha Graham is intent on typifying the U. S. spirit, she is more consistently abstract. Her face is like a mask when she dances. For Frontiers her principal gesture is to raise one leg, rest it on a fence...
...their own, got Curtis Bok to be president, chipped in what they could, pledged themselves to give a full season even if they had to play to the shrubs and trees of Fairmount Park. They scheduled opera in English, Gilbert & Sullivan, "pop" and symphony concerts, ballets by Fokine, Humphrey-Weidman and Philadelphia's Montgomery and Littlefield dancers. They promised to honor unused tickets left over from last summer's fiasco...
...Philadelphia production left little to be desired. The one setting by Norman Bel Geddes was impressively stark and simple. The characters were expertly portrayed by such singers as Rosa Tentoni (Iphigénie), Cyrena van Gordon (Clytemnestra), Joseph Bentonelli (Achilles), Georges Baklanoff (Agamemnon). For the dances Charles Weidman and Doris Humphrey supplied excellent choreography, won great applause. Again Philadelphia Orchestramen proved their superiority to routine opera players...
...King Louis XIV played a small part in 1664. The dialog has been jingled by Poetaster Arthur Guiterman and Guild Director Lawrence Langner. Guiterman has written neatly lyrical doggerels to be sung to songs based on old French folk-tunes and bergerettes. Able Dancers Doris Humphrey, Charles Weidman and assistants give a parody turn and little inspiration to some 17th Cen-tury dances. Pictorially it is nearly perfect. But even dour-faced Osgood Perkins as the tyrannical Brother Sganarelle and childish-voiced June Walker as his ward who is advised to "serve his meals all dank and sultry...