Sean Mahoney of Paul Taylor in Perpetual Dawn. Photo by Paul B. Goode.
Sean Mahoney of Paul Taylor in Perpetual Dawn. Photo by Paul B. Goode.

Another Paul Taylor season has ended at Lincoln Center. The company is looking fine, and the theater seemed well-filed on all but one of my forays. The dancers put an an impressive twenty-three works over the course of three weeks. But such diversity comes with a down side—not every piece holds up, especially when seen alongside Taylor’s best. It turns out there are a lot of run-of-the-mill Taylor dances. But then, you see something like Black Tuesday or Cloven Kingdom or, in its own bizarre way, Byzantium, and are once again amazed by this man’s imagination. How does Taylor come up with Byzantium, with its archaic priestly figures and orgy scenes? Taylor’s imagination is a mystery, and we like it that way.

I reviewed the season here, for DanceTabs.

And here is a short excerpt: This was “the company’s final New York appearance as a purely Taylor-centered enterprise. As of next year, it will transform itself into a mixed repertory troupe, performing the works of other modern-dance-makers alongside those of Taylor. This is a major transformation, and one that is not easy to envision at this point. Which choreographers will be represented? How will the works be chosen? How will they look on these particular dancers, so practiced in the fluidly athletic, muscular style Taylor has honed over many decades? How will his dancers feel about the change?”

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