The dance world felt a profound loss with the passing of modern dance titan Paul Taylor in 2018. His namesake company, the Paul Taylor Dance Company (PTDC), a cornerstone of American modern dance, faced a pivotal moment. For decades, Taylor’s unique choreographic vision defined the company, and many wondered how his legacy would continue. This fall season at Lincoln Center, under the artistic direction of former company dancer Michael Novak, offered a resounding answer: the Paul Taylor Dance Company is not just surviving, but thriving, honoring its roots while boldly stepping into the future. This review delves into the highlights of their season, celebrating the enduring genius of Paul Taylor Dance and the exciting direction of the company.
From the moment the curtain rose on Taylor’s Aureole (1962), it was clear this season was a triumphant reaffirmation of Paul Taylor Dance’s enduring appeal. For those familiar with Taylor’s signature style, the vocabulary was instantly recognizable and deeply satisfying: the sweeping, grounded runs with torsos spiraling, arms reaching and falling; the crisp assemblés with parallel legs; the powerful stag leaps; and the lunges that carve through space, the spine elegantly countering the hip’s momentum. Set to lively Baroque music and adorned with simple, elegant costumes that highlight every dancer’s movement, Aureole felt both timeless and utterly fresh. The dancers, a mostly new ensemble since the spring of 2018, were nothing short of spectacular, immediately dispelling any uncertainties about the company’s future.
Initially, there was a slight impression of excessive polish, a technical ease that perhaps overshadowed the raw “effort” that was once a hallmark of Paul Taylor Dance performances for some seasoned viewers. However, this initial observation quickly dissolved as the dancers demonstrated their profound understanding of the humanistic core that underpins all of Taylor’s choreography. Even in his more abstract, “pure movement” pieces, like the iconic Esplanade (1974-75), the dancers communicated a deep emotional resonance. Esplanade, a groundbreaking work built entirely from everyday pedestrian movements, remains a milestone of choreographic innovation. Celebrating its 50th anniversary, it captivated audiences, proving its timeless ability to evoke emotion without relying on traditional dance steps. While memories of past PTDC dancers performing Esplanade are cherished, this new generation made the piece their own, breathing new life into a classic of Paul Taylor Dance.
The Paul Taylor Dance Company’s multifaceted mission, developed in the years leading up to Taylor’s passing, remains commendably intact. Foremost is the unwavering commitment to preserving and performing Taylor’s vast oeuvre of 147 modern dance works, many of which are undisputed masterpieces of 20th-century choreography. With Taylor no longer with us, there appears to be a welcome focus on showcasing his greatest creations, allowing the company to concentrate on the works that truly define Paul Taylor Dance and perhaps retire some of the lesser pieces from his later period.
Secondly, the PTDC continues to commission new works from contemporary choreographers, ensuring the company’s evolution and relevance within the contemporary dance landscape. This fall season featured Chaconne in Winter and Recess by resident choreographer Lauren Lovette, and Robert Battle’s Dedicated to You (though this particular reviewer did not see Battle’s work). Finally, and crucially, the company remains dedicated to presenting works by choreographers who have shaped the historical canon of modern and contemporary dance. This season’s programming included revivals of Lovette’s Echo (2023), Larry Keigwin’s Rush Hour (2016), Ulysses Dove’s Vespers (1986), and two works by Jody Sperling inspired by Loïe Fuller, Vive La Loïe! and Clair de Lune (2005). This commitment to historical context alongside new creations positions the Paul Taylor Dance Company as not just a keeper of a legacy, but also a vital force in the ongoing conversation of modern and contemporary dance.
Jody Sperling’s works, particularly Clair de Lune, served as a fascinating reminder of the often-underrecognized pioneers of early modern dance. Loïe Fuller, often overshadowed by her contemporary Isadora Duncan, was a revolutionary figure in theatrical dance, costume, and electric lighting design. While Vive La Loïe! was missed, Emmy Wildermuth’s mesmerizing performance in Clair de Lune offered a stunning revival of Fuller’s unique, visually-driven solo dance form. Enveloped in layers of fabric and utilizing hidden poles to extend her arms, Wildermuth conjured serpentine swirls of material, creating visual images that resonated surprisingly with the spiraling torsos inherent in Paul Taylor Dance’s movement vocabulary. Sperling’s dedication to Fuller’s demanding and interdisciplinary style enriches our understanding of Fuller’s significant place in the lineage of modern dance, and her inclusion in the PTDC season broadened the scope of what audiences experienced.
Keigwin’s Rush Hour highlighted another crucial aspect of modern dance’s development: the mastery of “the well-made dance,” a skill at which Paul Taylor himself excelled. While Rush Hour is built on Keigwin’s signature quick, darting movements, its strength lies in its meticulous construction. Commissioned by PTDC, the piece captures the frenetic energy of urban life, with dancers moving purposefully through walking, turning, and jumping sequences. However, it is the carefully designed spatial patterns, balanced groupings, and precise use of repetition that guide the viewer’s eye, preventing chaos amidst the abundant activity. Though not groundbreaking in its originality, Rush Hour served as a compelling reminder of the foundational compositional principles that draw in and satisfy dance audiences, principles that are readily apparent in Paul Taylor Dance works.
Dove’s Vespers, while perhaps less impactful for this reviewer, still offered a glimpse into a different choreographic voice within the modern dance canon. With its Graham and Horton-influenced vocabulary, Vespers evokes a sense of spiritual presence. The all-female cast moves with lifted chests and eyes directed upwards, as if guided by an unseen force. While Mikel Rouse’s driving percussion score builds intensity, the choreography itself felt somewhat static, lacking a clear sense of progression. Its inclusion, however, broadened the scope of the season, demonstrating PTDC’s commitment to representing diverse voices in modern dance history, even beyond the direct lineage of Paul Taylor Dance.
Of Lovette’s premieres, Chaconne in Winter proved to be the more captivating. Fueled by the dynamic presence of Time for Three (two violinists and a double bassist), performing live on raised platforms, the piece exuded a contemporary, almost arena-like energy. Their rock-star personas and fervent playing on electric instruments infused the performance with a commercial sensibility. Dancers John Harnage and Madelyn Ho, costumed in gold-sparkled unitards, moved amidst the musicians in choreography that hinted at Taylor’s style, but remained distinct. While moments of Taylor-esque parallel back attitudes and twisting spines were present, and rapid footwork in unison was impressive, the choreography largely unfolded independently of the music, and as the tempo increased, the movements became sharper, losing some of the warmth and dimensionality characteristic of Paul Taylor Dance. Despite these observations, Chaconne in Winter remained a visually appealing piece, its energy primarily driven by the invigorating Bach and Justin Vernon-inspired music.
In contrast, Lovette’s Recess felt less cohesive, with a disconnect between the choreography and the piece’s overarching concept and music (by Errollyn Wallen). Evoking a schoolyard recess through childlike costuming and game-like interactions, the dancers moved quickly and playfully, yet their pathways were rigidly geometric, creating neat angles and circles that felt at odds with the spontaneous messiness of children’s play. A central duet, set to spare, jazzy string sounds, further highlighted this disconnect. The music’s loose, improvisational quality contrasted sharply with the couple’s choreography, which consisted largely of continuous, rhythmically organized phrases that lacked a clear relationship to the sonic landscape. Interactions between the two dancers felt somewhat arbitrary, lacking the nuanced and often humorous relational dynamics that Taylor masterfully crafted even in non-narrative works like Arden Court – a hallmark of Paul Taylor Dance’s ability to convey human connection through movement.
While the season’s presentation of ten classic Paul Taylor Dance works was undoubtedly the most enriching aspect, the true revelation was Images (1977), a piece previously unseen by this reviewer. The title perfectly encapsulates the work’s essence: an episodic, image-driven piece inspired by the flat, two-dimensional figures of ancient Egyptian art. Images opens with still, meditative tableaux, bodies clustered tightly around a central figure rising from within. A more animated second section brings these shapes to life, while the third section intriguingly explores the unusual linearity of these forms. Dancers process across the stage’s edge, evoking ancient peoples traversing vast deserts, leaving behind their artistic legacy as evidence of their existence. Fleeting glimpses of character emerge, as Taylor imagines the lives reflected in these ancient, captivating images, demonstrating the depth and range of Paul Taylor Dance’s thematic explorations.
The Word (1998) delivered a starkly relevant message about the dangers of conformist fanaticism, a theme that resonates powerfully even today. Crucifix imagery pervades the piece, particularly in the repetitive trudging of back-to-back couples, one dancer draped over the back of another, arms outstretched in a cross-like form. A sense of forced humility is palpable as dancers walk with wrists crossed at the nape of the neck, bodies contorted into head-down postures. Their measured pacing escalates into a chilling fervor, while a naked “non-believer” darts amongst them, symbolizing hope for a new, enlightened humanity. The Word stands as a powerful example of Paul Taylor Dance’s capacity to tackle complex social and political themes with choreographic brilliance.
Taylor’s darkly lyrical Promethean Fire (2002), set to iconic Bach keyboard music, including the thrilling “Toccata and Fugue in D Minor,” predictably captivated the audience. However, Lost, Found and Lost (1982), a satirical portrayal of the behind-the-scenes tedium of runway models, surprisingly failed to connect with the crowd. Its choreographic vocabulary cleverly mimics the aloof postures and strutting gaits of models, juxtaposed against the equally monotonous sounds of “elevator music” (re-orchestrated by Donald York). The smooth, Muzak-style arrangements of sentimental pop tunes ironically contrast with the dancers’ disjointed, uninspired movements and extended periods of stillness. The audience’s serious and silent reception to this piece was unexpected, highlighting perhaps a shift in audience sensibilities or a missed comedic beat in this particular performance of Paul Taylor Dance.
Throughout the season, an observation emerged about the audience itself: many seemed to be experiencing Paul Taylor Dance for the first time. During Dust (1977), a piece revealing Taylor’s deep influence from Martha Graham (with whom he danced for seven years), the Graham-technique roots were evident in the contracted torsos and deliberate hand placements. Graham-esque symbolic props, stark set design, and exploration of an agonized female character further underscored this connection. However, the audience’s frequent, premature applause at every pause in the music and dance suggested a lack of familiarity with the nuances of modern dance performance, interrupting the dramatic tension inherent in Taylor’s work. This highlighted a potential opportunity for audience education and outreach for Paul Taylor Dance to cultivate deeper engagement and understanding among new viewers.
Fortunately, the final performance concluded with Funny Papers, Taylor’s delightful and accessible homage to newspaper comics, set to a suite of catchy novelty songs. Choreographed in collaboration with its original dancers, Funny Papers proved universally enjoyable. The sheer fun and infectious energy of the piece served as a perfect reminder of the enduring appeal of Paul Taylor Dance: it is dance that can be appreciated by everyone, capable of transforming newcomers into modern dance enthusiasts. This Fall Season at Lincoln Center unequivocally demonstrated that the Paul Taylor Dance Company, under Michael Novak’s leadership, is not only preserving the invaluable legacy of Paul Taylor Dance but also actively shaping its vibrant future.
