Interludes

THE HANGOVER REPORT – Paul Taylor’s legacy is in good hands under Michael Novak’s leadership (and the musicianship of the Orchestra of St. Luke’s)

• By drediman
• November 12, 2019
• No Comments

Paul Taylor American Modern Dance Company performs “Sunset” at the David H. Koch Theater. Photo by Paul B. Goode.

Last night, I caught a performance by Paul Taylor American Modern Dance Company (“PTAMDC” for short) at the David H. Koch Theater at Lincoln Center. Of the company’ substantial three week residency at the Koch – in total, the company will have performed more than twenty different dances, including a few premieres – it’s likely that this visit is the only complete program I’ll be able to catch. Given this predicament, I’m happy to report that it was a satisfying, eclectic program, although I’m a bit sad to be missing such iconic and masterful dances as “Cloven Kingdom” and “Esplanade”, as well as new presentations like Kyle Abraham’s premiere for PTAMDC. Nevertheless, until last night, I didn’t know how much I had missed the late, great, and much missed Taylor’s distinct brand of dance and, by extension, storytelling (I wasn’t able to attend any of last year’s performances).

Yesterday’s bill, which was curated to celebrate Taylor’s frequent collaboration with painter Alex Katz, began with “Sunset”, a light, poetic, and ultimately elegiac piece that depicts the playful but yearning interplay between soldiers on the eve of their deployment and the women they were leaving behind. “Private Domain” was more abstract than “Sunset” but no less visually striking – much of the choreography occurs behind three thick pillars, giving the audience a disorienting sense of being voyeurs. Then we had “Scudorama”, which for me was the most opaque of the lot, which is frustrating given the specificity of Mr. Katz’s backdrop and costumes (if I had one criticism of Taylor’s works in general, this would be it). The evening ended with “Diggity”, a joyous and witty celebration of man’s best friend — no more, no less. Also, a few weeks ago, I was able to catch the company perform Taylor’s seminal “Aureole”, which continues to be an ideal manifestation of joy and freedom in movement.

Under the guidance of artistic director (and former dancer with the company) Michael Novak, the PTAMDC dancers appear to be thriving. Their open, buoyant style of movement is as outwardly embracing as it was under Taylor himself. It’s the kind dancing that makes one want to get up on stage and join the company. These dancers are also great, subtle actors, which is almost a requisite given that many of Taylor’s dances are plotted like character-driven short stories. For a number of years, PTAMDC has performed to canned music, which somewhat  diminished the humanity so richly integral in Taylor’s works. For this year’s Lincoln Center residency, the Orchestra of St. Luke’s — sounding as vibrant as ever under the the baton of music director Donald York — accompanies the storied dance company. The benefits of this arrangement are incalculable.

RECOMMENDED

PAUL TAYLOR AMERICAN MODERN DANCE COMPANY
Dance
David H. Koch Theater
Approximately 2 hours (with intermission; running time varies by program)
Through November 17