Martha Graham, one of the most gifted of modern choreographers, has had a limited popular appeal. Part of the'fun for confirmed Graham cultists has been wrestling with the Freudian nuances in a surrealist Graham dance-drama. Spirited little pro-&-con arguments during intermission ("No, what she really means is. . . .") have usually been a standard feature of every Graham recital.
Last week she found herself virtually a popular success. She brought to Manhattan her Appalachian Spring, a pleasant, good-humored ballet with no hidden meaning at all. It was danced on a stark black-draped stage relieved only by the skeletal framework of a...
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