Wistful Lilts and Playful Tilts With Paul Taylor
by Theresa Herron

View an excerpt from Dancemaker, an Oscar-nominated film by Matthew Diamond, in Real Video.

Also in this month: Margie Gillis

Paul Taylor is still true to Paul Taylor style. No matter how many changes occur in history, fads that come and go, he’s still pure Taylor. Such was the case with his two recent New York premieres of “Cascade” and “Arabesque” at his City Center season this past March.

Set to music by Claude Debussy with wispy costumes by Santo Loquasto, “Arabesque” did not actually contain many arabesque poses. However, the overall design was very arabesque with lacey, curvy, interweaving of bodies through space. The effect of various group patterns of flitting and fleeting jumps and sweeps throughout the stage was reminiscent of how Artemis and entourage may have appeared in a frolicsome excursion through the woods in ancient times. Aerial and light in sense of weight, several movements of the work appeared upbeat and optimistic in tone. These were interestingly contrasted with quieter sections with slower, more earthbound movement performed in a seemingly meditative state. Silvia Nevjinsky especially stood out as a powerful presence in her quiescent and subtle solo entitled Syrinx. Lighting by Jennifer Tipton lightened or darkened softly to underscore and complement the changing moods of various sections.

In “Cascade,” set to Concertos for Piano and Orchestra by J.S. Bach, Taylor employed his oft used playful nuances and teasing movements. One might think the dancers will go one direction, then surprise! They skitter off in another. This characteristic kept Taylor’s work alive and intriguing. Rapid-fire entrances and exits of small groups of dancers occurred throughout the work. Again, Taylor followed his structure of juxtaposing faster and slower sections of dance for more interesting contrast. Freedom and fluidity of torsos and arms was especially visible in this work. In a section choreographed for all men, the males expressed their masculinity in firm, focused carriage while the women leapt and cut through them in lines. Taylor also explored various levels of the kinesphere from ground to air. With more concision, this work would have been stronger.

Along with “Arabesque,” on the program Saturday evening, March 4, were Taylor’s “Sunset,” first performed in 1983, and “Esplanade” from 1975. In “Sunset,” set to music by Edward Elgar, a line of soldiers in tan uniforms and red berets encountered a line of women in 1940s-style dresses. Some wistful, some frisky brief encounters were made between soldiers and the women, as a soldier on leave from fighting might have. The foreknowledge of ultimate separation and possible death made such encounters all the more fleeting and precious. Many lilts and back and forth movements transpired between couples and small groups highlighting the nature of the relationships--wanting to get closer but having to pull away--and the mixed emotions thereof. Francie Huber and Kristi Egtvedt particularly shone forth in their sensual solos with several men holding, lifting and catching them.

Taylor’s rambunctious classic “Esplanade” carried its old charm with its striding, strolling and rolling on the ground. The energy and vibrancy of the dancers was prevalent in this piece.

Also performed with “Cascade” on Sunday evening, March 5, were “Lost, Found and Lost” from 1957 and “Le Sacre Du Printemps (The Rehearsal),” first performed in 1981. “Lost, Found and Lost” was the most strikingly different work by Taylor in that it represented his early style from the 1950s and early 60s that explored more through performance art combined with pedestrian movement. His later work, especially from the 1970s onward, has been more body and dance oriented. Set to a Musak version of Golden Oldies of the late 40’s, “Lost, Found and Lost” exhibited endless waiting in lines and the boredom resultant with arms crossed and hips cocked to side and automaton-type moves. The work seemingly made commentary on the consumer society of the 1950s with so much time spent just waiting to buy, to get, to be the next one served. Little interest was shown in other people also waiting in queue despite their similar goals. The jet black costumes by Alex Katz set against the stark white backdrop were stunning and highlighted an isolation of the individual while standing with the group.

Lastly, “Le Sacre Du Printemps (The Rehearsal)” was a dramatic ballet with music by Igor Stravinsky that parodied the theatrical setting and company politics of Sergei Diaghilev’s Ballet Russe from the early twentieth century. Rehearsal of Vaslav Nijinsky’s original “Le Sacre Du Printemps” (“The Rite of Spring”) with two-dimensional hieroglyphic-style movement was performed in the background of the drama. A rehearsal mistress, a girl, a private eye, a crook, his mistress all vied for power with multiple stabbings in this work. After much bloodshed a final crook stabbed himself then stabbed the baby of The Girl, played by Lisa Viola. Viola’s solo after the death of the baby was most poignant. The corps dancers in gray unitards were reminiscent of early Eisenstein film images of socialist workers striving in unison to accomplish a common goal while subservient to the government.

So, Paul Taylor is still true to Paul Taylor style. With his season at City Center Taylor demonstrated his continuing ability to fascinate, communicate and elucidate with his company’s full-bodied dynamism, rhythm and drama.

Photo credit: Lois Greenfield

Chriselle Tidrick Archive: Alan Danielson, Doug Varone, Peridance

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