The Women who Dance with their Demons

Martha Graham’s short ballet from 1947 “Errand into the Maze” takes inspiration from the epic Greek legend of the Minotaur’s Labyrinth. The tale sees the hero Theseus enter the maze in order to slay the beastly Minotaur, navigating his way out with a thread from the princess Ariadne. Graham’s rendition is less of a retelling and more of a recontextualization, according to Masha Maddux, stager and former principal dancer with the Martha Graham Dance Company.

Alice Bellini in rehearsal for “Errand into the Maze” by Martha Graham. Photograph by Isabella Turolla, courtesy of the English National Ballet

“She’s moving the story to a female lens” explains Maddux, “she’s simply called the Woman rather than Ariadne, the Minotaur is called the Creature of Fear,” while Theseus is cut out altogether. It’s a thrilling, deeply psychological duet when performed in the capable hands of the veterans at the Graham Company. However, in a feat of ambition, the role will be shared by four ballerinas as it enters the repertoire of English National Ballet. Before the company’s debut of the work as part of their R:Evolution mixed bill at Sadler’s Wells this October, I had the chance to watch rehearsals and chat with three of the four women facing the beast: Emily Suzuki, Alice Bellini, and Anna Ciriano.

By now the work is coming together, but the challenge is still present. “This part still doesn’t feel natural to me” says Ciriano, her pelvis jutting out and twisting behind her as she shuffles her feet. There’s a lot in Graham’s choreography that is almost contortionist in its pursuit of expression. The women wring themselves into anxious knots, their arms shield themselves from the Creature of Fear like the gnarled branches of a tree. We’re worlds away from the airs and graces of the classical idiom. “In Graham we want to see the effort” insists Maddux, “we want to see you struggle, the resistance, the rough elasticity, the twist and twitch.” There's plenty of struggle in the work, the Woman is often percussively jerking her body as she darts her gaze around her prison, stabbing her feet into the floor as she seeks her escape.

Graham’s athletic movements root from her all-important relationship with the body's centre, initiating nearly all movement from the abdominals in an exhalation—a contraction. “It’s like, screaming” says Suzuki, pointing to her stomach, “this is the voice, the core is the voice.” Most of the cast had never encountered the Graham technique before. How does one begin to transfer an entirely new, highly codified technique to a group of dancers in such a short amount of time? “In a kind, nurturing way!” laughs Maddux. Over the course of two weeks dancers took Graham classes every morning while workshopping the roles before casting decisions were made. “Everybody worked really hard, yes their hips were screaming out my name, but they did really well” says Maddux with a smile. The crash course had its uses outside of rehearsals: “It really uses the core and the back” says Bellini, “when I swapped into ballet rehearsals I suddenly felt so pulled up!.”

Anna Ciriano in rehearsal for “Errand into the Maze” by Martha Graham. Photograph by Isabella Turolla, courtesy of the English National Ballet

But the technique, as is often the case with Graham’s work, is only a means to an end. Her repertoire is frequently raw and emotive, exploring themes like grief in “Lamentation” (1930) or love in its myriad forms in “Diversion of Angels” (1948). “She didn't want to do what she called inconsequential entertainment” Maddux tells me, “she was accessing things we’re all going to experience in life: rage, fear, deep love, jealousy. At some point in your life, you’re going to touch on that nerve. Martha chose to turn it into dance.” The emotional power of Graham’s style is not lost among the women. “It's really connected to our feelings, our thoughts, our souls. It’s more expressive than classical ballet.” Suzuki says. When I ask if the women were bringing something of themselves into the role, they all nod in agreement. “I feel like you have to be yourself in it. Otherwise, it’s not real.” Bellini asserts. Suzuki and Ciriano hum their approval.

The tension of “Errand into the Maze” is focused less on the narrative of the Greek legend that inspired it than the emotional landscape within the Woman’s mind. “The real focus of the work is the Woman conquering her fears.” Maddux explains. “You feel like she hasn’t gotten to the root, that she hasn’t dealt with it.” For some of the dancers that fear strikes a personal chord. “I had a really bad dream this morning, and somehow it really connected with the meaning of this piece,” Suzuki shares with us. “I’ve been thinking whether that moment of her facing the beast isn’t the first time?” Her voice begins to quiver a little as she opens up to our little circle, “for me personally, I have a fear of belief. Towards people, towards myself. It always comes back because I’ll doubt myself.” Ciriano’s approach is similarly autobiographical. “I don't know how to explain it really without letting my whole personal life out,” she laughs, “everyone knows I'm a very emotional person, but there’s a deep fear that comes with that. What I take is that the beast is that fear from my own life.”

Emily Suzuki in rehearsal for “Errand into the Maze” by Martha Graham. Isabella Turolla, courtesy of the English National Ballet

“Even though the piece was made in 1947, it speaks about something that people now are finally open to talking about: I’m insecure, I’m scared, I need help. She created something that people weren’t talking about.” Bellini says, “now, in doing this, we’re actually comfortable enough to be able to get together and talk about our fears.” This conversation was in fact the first time the women had the chance to really discuss their own takes on the role with each other. They volley their thoughts around the snug meeting room. I am struck not just by how open and frank they are, but their vulnerability with each other, their receptiveness. Though they are mostly alone on stage, there is a sort of sisterhood among them.

The ballerinas continue to discuss the piece. “Maybe it has something to do with mental health, like abuse or sexual trauma?” posits Suzuki. Bellini concurs, “maybe something to do with the loss of virginity? The tree on stage is shaped like a woman’s pelvis. I think there’s something in there.” “It has many layers,” says Ciriano, “the audience will decide what it means to them. In this role we finally get to fight back—even if it is for the sake of the audience—and be free.” Ciriano, who is relatively new to the company and is the only dancer from the corps de ballet in the role. “I’m told often that I look quite young and I didn’t think of myself in a role like this before. Now I’m taking something from it: no more apologising,” she grins.

Masha Maddux in rehearsal for “Errand into the Maze” by Martha Graham. Isabella Turolla, courtesy of the English National Ballet

Though a daunting task, the women face their demons tenaciously, determined to take as much as they can from Graham’s wisdom. “It’s a chance to be by yourself on stage and actually allow yourself to feel fear” says Ciriano. “It’s the safest place, the stage,” muses Bellini, “you can really be vulnerable, and the audience will accept you for it.” “I think it’s more relevant than ever” says Suzuki of the work. It is remarkable to see just how full of life a nearly 80-year-old work can still be. “There's something that just keeps us coming back, and I think it's the humanity,” says Maddux, “Martha Graham put on stage what we experience every day in our bodies, even when society tells us it's unacceptable.”

“Errand into the Maze” runs as part of English National Ballet’s R:Evolution mixed bill at Sadler’s Wells, London 1st - 11th October

Eoin Fenton

Eoin (they/he) is a dance maker and writer based in Cork (Rep. of Ireland), and London (UK). They have danced across Ireland and London in venues including The Place, Project Arts Centre Dublin and Galway Cathedral. Eoin graduated with a BA in Choreography from Middlesex University in 2024 and began writing as part of the Resolution Reviews programme. They are a regular contributor to A Young(ish) Perspective.

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