I grew up in the Jewish Reform Temple of Rodef Shalom in Pittsburgh when the esteemed scholar Dr. Solomon Freehof was the senior rabbi there. As I mentioned earlier, his book had influenced the creation of In Praise. He was a bit intimidating for me and it was the younger Rabbi, Dr. Walter Jacob, that I got to know as a teen at Rodef Shalom and who in fact married Murray and me. Rodef Shalom has had a prominent history in the development of Reform Judaism in the United States and here is a link where you can learn more. At some point on a visit to Pittsburgh probably in the summer of 1973 I mentioned to Walter what I had been doing in Tallahassee and he suggested bringing In Praise to Pittsburgh. Hum… that seemed really a neat option as the sanctuary of Rodef Shalom was inspiring and elegant and it would be a challenge to set our piece on the bema as part of a service.
One of Rodef Shalom’s weekly services was on Sunday morning and Walter suggested that as the ideal time to weave In Praise into the service. Since I still had dance contacts in Pittsburgh, I decided that I would use local dancers and Irving could work with the professional choir that sang regularly at Rodef Shalom. During the summer of 1973 I had also spent time visiting my good friend and former Pittsburgher Lynne Wimmer, who had joined the Repertory Dance Company (RDT) in Salt Lake City, Utah upon her graduation from Juilliard in 1968. I decided I wanted to take a two-week workshop RDT offered and do some hiking and hanging out with Lynne.
Before I continue with In Praise in Pittsburgh, let me give you a little bit of background on my friendship with Lynne. Both of our families, along with Murray’s, belonged to a Swim Club in Pittsburgh and we hung at the pool. Lynne and I got to know each other then and particularly when I had moved back to Pittsburgh to marry Murray following two years at Juilliard. Lynne was then going into her junior year. She was very serious about her dancing and I suggested that she audition for Juilliard in her junior year and if accepted she could take summer school and skip her senior year. I knew this was possible since a classmate of mine, Martha Clarke, had done exactly that. Anyway Lynne auditioned, got in and entered Juilliard that fall. We have kept in contact over the years both as friends and dance collaborators. There will be other blogs I will be writing in which Lynne plays an important part.
When a date was set with Rodef Shalom I reached out to Lynne to see if she could join me and perform in In Praise. Since the date was in January when RDT was touring in the Midwest she was able to take a week’s leave of absence and perform with us. I don’t remember how exactly I got the other five dancers, and I only recognize one other name: Martha Amper, whom I had worked with quite a few years earlier when she was in high school. (I’ll definitely do a blog on the poetry program I did with her and 6 or 7 other students back in 1965.) Most likely, I reached out to my Pittsburgh modern dance teacher, Jeanne Beaman, and asked her for suggestions. I had studied seriously with Jeanne all through high school and am deeply grateful to her for the strong training and inspiration I received from her.
It was great fun and challenging to spend the week in Pittsburgh working with the dancers, teaching them sections of In Praise, and making adjustments to the choreography to fit the bema which was long and narrow. The sanctuary seats a total of 1200 (900 on the first floor and 300 in the balcony) and I was particularly aware of wanting to take in the full congregation during a quiet solo I did to the prayer “May the Words of My Mouth.” Lynne helped me with the solo, coaching me to fully extend my hands in several key places. That really helped and in a receiving line after the performance (it’s a tradition that the Rabbis form this line and any invited guest speaker join them) a number of people asked to see my hands, remarking how big they looked on the bema. THANK YOU LYNNE!! IT WORKED!!
JoAnne Tucker and Lynne Wimmer on the bema, in front of the ark at Rodef Shalom. Photo by Morris Berman for the Pittsburgh Post-Gazette.
In a recent phone conversation with Lynne I asked her what she remembered about the performance. She shared that she had a funny feeling dancing on the bema, as she had grown up in a conservative congregation and it felt strange to be dancing on the bema as if on a stage. Her comment did not surprise me at all and over the years the approach I had of integrating dance into the service was both welcomed and questioned. Martha Graham’s classic comment that “wherever a dancer stands is holy ground” has resonated for me since I was a teenager and so why not dance on the bema.
Irving arrived mid-week and as he worked with the professional choir the piece began to flow together. Choreographic changes and music timing were polished and in a letter following In Praise Dr. Jacob wrote, “Until I watched you work with the dancers individually in the morning and on Wednesday evening, I had no idea how much detailed preparation was necessary.”
Top picture: Irving playing the piano while we work out a musical coordination.
Bottom picture: Irving working with the professional musicians.
The costumes shown in the above picture of Lynne and me were just too busy for RodefShalom’s elegant sanctuary. Something simpler was needed and so white leotards with matching white skirts and beige tights underneath became the new costumes for the piece. The male dancer wore a white tank top with brown tights.
Nice publicity in both the Pittsburgh Jewish Chronicle and the Pittsburgh Post-Gazette provided a filled sanctuary for our January 27thservice. I remember very vividly that as the music began for In Praise and we were in place in the aisles, the sun suddenly burst through the long stained glass windows providing the most amazing lighting.
A week later in the Jewish Chronicle, Milton K. Susman wrote about his experience, in his column entitled “As I See It” (February 7, 1974):
In these days when spiritual uplift is as rare as birdsong in January, one savors the experience at Rodef Shalom Temple last week when the Congregation offered a service in the guise of a dance cantata titled “In Praise.” It was a moving and meaningful occasion in that the cantata was a highly religious tableau without resort to religious formalism.
“In Praise” infused the litanies of the “Shema,” “May the Words…” and “Thou shalt love the Lord, thy God…” with the grace and beauty of movement against a musical background that set the mood and etched every emotion. This innovative approach to prayer has the virtues of perspective and the quickened pulse, for the observer can hardly escape the encompassing effects of sight and sound on those supplications that are as familiar to the worshipper as his living room.
“In Praise” gives to prayer a whole new dimension of joyfulness and humility and for a lot of days to come the afterglow of Florida-based Dr. Irving Fleet’s music and Dr. JoAnne Tucker’s choreography (she is the daughter-in-law of former Pittsburgh sportscaster Joe Tucker) will remain as a kind of haunting benediction.
Those who went and witnessed have to be grateful to the Alexander A. and Cecilia Bluestone Music Fund for making the cantata possible and to Dr. Walter Jacob, rabbi of Rodef Shalom, for surrendering his pulpit to a happening that was couched in velvet.
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Fun to read about your first out of town performance! I had not made the connection before between you and Jeanne Beaman. She went to the Bennington School of the Dance, and my interview with her about her experiences there is part of my Bennington book.
I didn’t know she went to the Bennington School of the Arts. Jeanne was a very important part of my dance life in Pittsburgh. Look forward to talking more when I see you this weekend.