May O'Donnell and Ray Green discuss how they met in 1937 and got involved in dance, the problems encountered while performing with Martha Graham during her first transcontinental tour in 1937, Green composing music for O'Donnell, O'Donnell growing up in California and rehearsing with friends as children, touring with Graham and her own company, importance of Green's music for O'Donnell and her work, Green's piece entitled There is a time for innocence, and how the work was created, how she incorporates music and her voice into her dance classes, making money and working together in the studio at the beginning of their careers during the war, performing at Mills College and dancing with José Limón, creating Suspension after seeing an airplane below her in San Francisco while she was up on a hill, performing with Graham again in the 40s-50s and then establishing her first company, working with dancers and creating movement that looked good on each dancer, the money needed for concerts, and dancers leaving to perform with other choreographers, moving on to teaching, staging Suspension and Energies on companies which led to creating another version of her own company, the joys and problems with maintaining a dance company, how dance has gotten off track regarding structured choreographic works and the problems with the audience connecting to it, trouble getting dance out to the public which makes it difficult to raise money to pay dancers, young dancers living and moving to New York City, and the connection that O'Donnell and Green still have after all these years.
Alternative title
Interview with May O'Donnell and Ray Green: Master #2