Thursday March 5, 2009 - I had hoped to see more of the Paul Taylor Dance Company's repertoire at City Center this year but it didn't work out that way. In the end I've chosen two programmes: this one which includes the new ballet BELOVED RENEGADE and a second (this Saturday matinee) which features probably my two all-time favorite Taylor works (well, in the top five for sure!): ARDEN COURT and ESPLANADE, with LAST LOOK thrown in by way of (radical) contrast.
...BYZANTIUM is a three-part work that is both musically intriguing and visually striking. The spare, deceptively simple-sounding music of Edgard Varese sets the stage for a transformative piece which begins with dancers in contemporary garb; things seem chaotic and edgy. James Samson, clad in golden trousers, alone of the dancers seems to have some link to a higher force. There's a vivid solo passage for Amy Young and in general the movement suggests confusion and struggle. Then four priestly figures appear in colourful robes (above, in Tom Caravaglia's photo) before an illuminated gold panel. To an 'aria' for solo flute their ritualistic gestures and style of movement suggest clarity and unity. The populace now re-appear, all in golden costumes - the men shirtless - and move in stylized, regimented yet flowing patterns. Ms. Young is transformed into a goddess-figure, borne aloft, and Robert Kleinendorst's expressive dancing highlights the closing section of this mysterious, complex and very beautiful work.
Taylor's setting of LE SACRE DU PRINTEMPS is the third embodiment of the familiar Stravinsky score that I have encountered in a dance context in recent seasons. Cedar Lake's colourful, whimiscal 'nature-study' created by Stijn Celis was followed last year (at Joyce SoHo) by the remarkable solo version of the work created by Andonis Foniadakis and magnificently danced by Ioanna Toumpakari. Taylor's version (subtitled The Rehearsal) is wonderfully entertaining. The 'story' revolves around a kidnapping but what is so captivating about Paul Taylor's RITE is the use of Nijinsky-style images which turn the ballet into a sort of homage to the Ballets Russes. Moving almost consistently in the stylized, profile-attitude we see in old photos of Nijinsky's L'APRES MIDI D'UNE FAUN, the dancers create their characters in the mini-drama thru a way of moving that would at first seem too rigid but in the end creates its own world. For a small and seemingly innocuous little comedy, the work reverberates with a feeling of looking back to a period of dance history when Diaghilev's transformational works were the (sometimes controversial) toast of Paris and London.
Normally this kind of plotty, 'cute' narrative-ballet would be tedious for me but by putting it in a Ballets Russes context, Taylor gives it layers of fascination which kept me intrigued and even engrossed. I enjoyed it thoroughly and several of the dancers made special impressions, most notably Annamaria Mazzini and Michael Trusnovec (in Tom Caravaglia's photo above) as the parents of the stolen baby. Their adagio was the dream-like centerpiece of the work. Amy Young in a black wig was the kidnapper - a brilliant bit of anti-type-casting - and Mr. Kleinendorst the stereotypic bad guy. As his petitte henchman, Julie Tice was the most adorable little criminal. As the ballet mistress, Laura Halzack in a mile-high wig evoked images of Bronislava Nijinska or even Martha Graham.
[While we're on the subject of RITE OF SPRING, another new setting of the Stravinsky masterpiece choreographed by Adam Hougland will premiere in Louisville on April 4th to be danced by the inimitable Wendy Whelan.]
Seeing the new BELOVED RENEGADE made me crave a second viewing; I'll need to see it again if I can find a way. Set to the Poulenc GLORIA, the new ballet is in six section and is inspired by the writings of Walt Whitman. The Whitman references are not literal but rather they colour the various passages of the work which moves between visions of death and expressions of the celebration of life. In the darker moments we see leave-taking, a body borne aloft, a Pieta-like pose...all of which give RENEGADE a somber tone. Yet the movement in the alternating segments is spacious and life-affirming with balletic lifts and a feeling of flowing from darkness into light.
Michael Trusnovec's dancing, illuminated from within, is central to the success of this work and there are many opportunities for the dancers' individual personalities to shine: notably Mr. Kleinendorst, and the Misses Mazzini and Hulzack. In a Company that has no stars (or more appropriately is all-stars) Orion Duckstein and James Samson are pillars of perfection. Amy Young had a grand evening, dancing in all three works and drawing cheers of delight when she took her bows.
It's always good to see new faces coming up in the dance world and Francisco Graciano stood out: a handsome, compact young dancer with a glint of star-quality already beginning to radiate. Above: Francisco in COMPANY B/photo by Tom Caravaglia.
Above, Dilip Vishwanat's photo of Michael Trusnovec and Laura Halzack in BELOVED RENEGADE was featured in the New York Times after the St. Louis premiere of the work. I love this perspective.
BELOVED RENEGADE has been viewed by some as Paul Taylor's benediction. When the tall, benevolent choreographer appeared for a bow at the end - to the delight of the dancers and the crowd - it made me think there may be more chapters to come.
Great to run into former Taylor dancer Takehiro Ueyama (now leading his own troupe, TAKE Dance) and to be seated a few seats away from another Taylor favorite, Richard Chen See. (That's Richard on the floor in the BYZANTIUM photo up above). Both Take and Richard created many memorable images for me during their Taylor careers.
It's always such a thrill when Paul Taylor takes a bow! I adore "Le Sacre Du Printemps" -- it's so clever! I'm with you about needing to see "Beloved Renegade" again (I liked it a lot). Not to bandy about too many superlatives, but the Paul Taylor dancers are simply superb. I can't wait to go again on Sunday.
Great to see you and Susan last night!
Posted by: Deborah | March 06, 2009 at 10:15 AM
I loved the programme, esp SACRE which I saw years ago but failed to appreciate til last night. And the dancers are really impressive. And you are right: seeing Paul Taylor take a bow is seeing a living legend.
Posted by: Philip | March 06, 2009 at 11:48 AM