Paul Taylor Dance Company
551 Grand Street
New York, NY, 10002
(Taylor Dance Company Website)
Paul Taylor, Artistic Director
And President, Board of Directors
Robert E. Aberlin, Chairman, Board of Directors
Bettie de Jong, Rehearsal Director
John Tomlinson, Executive Director
Jennifer Tipton, Principal Lighting Designer
Santo Loquasto, Principal Set & Costume Designer
Lisa Labrado, Director of Public Relations
Michael Trusnovec, Amy Young,
Robert Kleinendorst, James Samson, Michelle Fleet,
Parisa Khobdeh, Sean Mahoney, Eran Bugge,
Francisco Graciano, Laura Halzack,
Jamie Rae Walker, Michael Apuzzo, Aileen Roehl,
Michael Novak, Heather McGinley, George Smallwood
In Performances at the David H. Koch Theater
At Lincoln Center
Dr. Roberta E. Zlokower
March 19, 2013
(See Other Taylor Company Reviews)
Paul Taylor grew up near Washington, DC and studied dance at Juilliard. He first presented his own company and original choreography in 1954. For seven years, he was a soloist with the Martha Graham Dance Company and continued to create dances for his own company. In 1959 he was a Guest Artist and danced with the New York City Ballet, and, since 1975, he has concentrated on his choreography. Mr. Taylor has won dozens of awards, such as the National Medal of Arts from President Clinton in 1993, a 1992 Emmy Award for Speaking in Tongues, and a 1992 Kennedy Center Honor. He was elected to Knighthood by the French Government and in 2000 was awarded Legion díHonneur for contributions to French culture. (Program Notes). He has received numerous honorary Doctor of Fine Arts degrees from prestigious colleges, including Skidmore, where I first met him, many years ago. The Paul Taylor Dance Company is a sought after troupe and tours extensively around the globe. Visit www.paultaylor.org for the latest tour dates.
Scudorama (1963): Music specially composed by Clarence Jackson, Choreography by Paul Taylor, Set and Costumes by Alex Katz, original lighting by Thomas Skelton, Lighting recreated by Jennifer Tipton, Performed by the Company.
I thought of Scudorama as a comment on homelessness, with the dancers in colorful large wool blankets, rolling about the stage to callous, indifferent passersby. Sean Mahoney arrives in a suit and walks over the fallen crowd. Laura Halzack, in a red unitard by Alex Katz, is grabbed through her legs and turned upside down, after Michael Trusnovec arrives. Jamie Rae Walker and Aileen Roehl wear yellow to match their hair, a typical Taylor twist. Women in black unitards and white frilly collars were possibly a nod toward nuns, who may have been seen in the early 60ís, when this work was created, walking the same streets where the homeless lie. Clouds are painted in the backdrop, with black-red skies, lit by Thomas Skelton, while Clarence Jacksonís score is violent, symphonic angst, with occasional evocations of crashing shards of glass.
Lost, Found and Lost (1982): Elevator music orchestrated by Donald York, Choreography by Paul Taylor, Costumes by Alex Katz, Lighting by Jennifer Tipton, Performed by the Company.
I finally saw one Taylor work I need not see again. This 1982 rare work best be kept rare. The elevator music has popular ballads swirling aimlessly, as aimlessly as the Company stands in a row, as if to go onto an elevator or a unisex rest room. One at a time, the dancer in front passes through, as the Company stands posing in black unitards with comically placed crystals. They lean, they walk, they gaze at themselves, while ďAs Time Goes ByĒ wafts through the air. Little motion occurs, as this is catatonic schtick.
Brandenburgs (1988): Music by Johann Sebastian Bach (Brandenburg Concertos No. 6 (movements 1 &2), No. 3), Choreography by Paul Taylor, Costumes by Santo Loquasto, Lighting by Jennifer Tipton, Performed by the Company.
The evening was well worth the visit with Brandenburgs on the program. Set to excerpts of Bachís Brandenburg Concertos, dancers in a parade of two, three, or four leap like wild antelopes right stage to left. Michael Trusnovec appears and re-appears, as the music swells and fills the theater with drama. Mr. Trusnovec danced a pas de quatre with three women with aplomb. The bare-chested men were glistening in Jennifer Tiptonís glowing lights, as the choreography became heated. This work is a release of joy, an embrace of jubilance. Martha Grahamís pelvic-centered momentum, with arms slicing the air like propellers, was evident. Eran Bugge, along with Mr. Trusnovec, were compelling and spell-binding.
Kudos to Paul Taylor.