A vivid new production of Agnes de Mille’s 1942 “Rodeo” kicked off the night. This iconic work, originally made for the Ballet Russe de Monte Carlo, had never been danced by the MGDC before, though Graham and de Mille were lifelong friends. (De Mille even devoted thirty years of her life to writing a biography of Graham.)  “Rodeo” could easily have come across as dated: its thesis—that tomboys must wear skirts to find happiness—doesn’t sit well today. But in the 40s this was a radical and humorous dance, and the Graham dancers brought a winking energy to it that made it seem radical and humorous even now.  

Every element of the MGDC’s production combined to make it feel alive. Aaron Copland’s classic score was reinterpreted by the fiddler Gabriel Witcher, who led a wonderful 6-piece bluegrass band from the pit. Beowulf Boritt did the projections of ranch pastures and a pseudo-Starry Night.  Oana Botez’s mauve cowpoke garb and acid green dresses with turquoise lace added another jolt. And the Graham ensemble invested themselves so thoroughly—though archly—in the telling of this old-timey tale that it didn’t seem so dusty after all. In fact, the “Rodeo” plot can be summed up quite nicely by the recent lyrics of Ms. Cowboy Carter: “It’s a real-life boogie and a real-life hoedown/ Don’t be a bitch, come take it to the floor now.”  

The, ahem, Cowgirl, who initially resisted taking it to the floor was the sensational Marzia Memoli—a whippet-sized Italian woman whose presence brought “Rodeo” into the rich Spaghetti Western tradition. It’s exciting that Memoli is finally assuming bigger roles; her tiny shoulders can more than carry them. She had several excellent solos on Saturday and was standout in all three pieces. (She also danced a plum Graham canon role, The Chosen One, in “The Rite of Spring” the night before.) Jacob Larsen, as the Champion Roper, and Lloyd Knight, as the Head Wrangler, likewise blazed in their saddles. This trio sold their love triangle, but they were tongue-in-cheek about it. Knight, proudly puffing out his chest in his pink vest, mocked butch stereotypes while relishing playing them up. And Larsen’s macho, pumped passes across the back of the stage toed the catwalk line. Everyone in the cast seemed to be enjoying acting out “Rodeo’s” throwback script while also slyly commenting on it.