Lifted Spirits

Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink. During its three-week season at Lincoln Center’s Koch Theater, the Paul Taylor Dance Company showed 18 works in repertory under the direction of artistic director Michael Novak: eight from guest artists, including four world premieres. The rest was pure Paul Taylor—ten classic works first presented between 1975 and 2002. Add to this the seven works of “Extreme Taylor,” this summer at the Joyce, and you get a crash course in the Taylor style. What better way to lift one’s spirits?

Performance

Paul Taylor Dance Company

Place

David H. Koch Theater, Lincoln Center, New York, NY, November 14 & 19, 2024

Words

Karen Hildebrand

Paul Taylor Dance Company in “Funny Papers” by Paul Taylor. Photograph by Whitney Browne

The stately posturing of “Images” (1977), slapstick “Funny Papers” (1994), and a pairing of repertory favorites, “Arden Court” (1981) and “Esplanade” (1975), framed the two evenings I attended. Jody Sperling’s “Clair De Lune” and Ulysses Dove’s “Vespers” refreshed the palate between Taylor numbers, while premieres of “Chaconne in Winter“ and “Recess” by choreographer in residence, Lauren Lovette, offered a taste of the company’s future. The newest generation of dancers, most of whom have never worked directly with Taylor—now gone for six years—looked wonderful in everything.

“Images” is like an Grecian vase brought to life. From the circling pinwheel of dancers opening their arms into a blooming flower, to a lateral procession of men who face flat to the front and step with flexed wrists and ankles, the work is visually rich. The women wear mosaic patterned skirts in jewel tones and headbands; the bare-chested men appear in gladiator trunks. A highlight is Jessica Ferretti’s solo performed in a floor length version of the mosaic skirt. She moves like an upside down flamenco dancer, her feet rooted, while arms and torso convulse madly.

It’s fun to imagine which “Funny Papers” roles were originally performed by which former company members among the group credited with creating this medley set to popular tunes. Mary Cochran in Itsy Bitsy Yellow Polka Dot Bikini? Perhaps Patrick Corbin as Popeye the Sailor Man? It didn’t take long for Lisa Borres Casey and Jake Vincent to win me over in this new iteration. Performed by 13 dancers, “Funny Papers” is pure feel-good nostalgia.

Mdelyn Ho, Ranaan Meyer, John Harnage in Lauren Lovette's “Chaconne In Winter.” Photograph by Whitney Browne

Lovette’s new “Chaconne in Winter” is a lite chamber music offering. Dancers Madelyn Ho and John Harnage regard each other respectfully from opposites sides of the stage in softly glittering unitards by Mark Eric. (The choreographer says she was inspired by the idea of falling show.) Unfortunately the bold onstage kinetic performance of string trio, Time for Three, competes with the delicate and restrained demeanor of the dancers.

“Vespers” by Ulysses Dove centers on a community of six women dressed in black, led by the excellent Jada Pearman. Though made in 1986, it’s hard not to read this dramatic work as a timely response to the attack on women’s reproductive rights and their role in the world. Dove’s strong Horton technique is apparent, particularly in a striking move where the women lie on their sides at the base of spare wooden chairs, their legs raised off the ground in parallel. They look as if they’ve frozen in place after falling off the chairs.

A live Orchestra of St. Lukes under David LeMarche lent an extra gravitas to the second evening I attended: A romantic “Arden Court” puts the Taylor athletic male physique on wonderful display, exemplified by the strapping Kenny Corrigan, Lee Duvenick, and Devon Louis in handstands, lunges, cartwheels, and rolls. When three women enter—Ho, Borres Casey, and Ferretti— couples form for a section of unison partnering. But it’s the men alone who draw my eye most—their solid lateral tilts, the loping leaps in a line, each delivering an individual flourish to set himself apart.

Jada Pearman with Lee Duveneck, Jessica Ferretti, Jake Vincent, Lisa Borres Casey, Devon Louis, Kristin Draucker in Paul Taylor's “Esplanade.” Photograph by Whitney Browne

Jody Sperling has set her shimmering “Clair De Lune” (2005) on Emmy Wildermuth, accompanied on piano by Margaret Kampmeier. Wildermuth wields an enormous silk cape low to the ground, conjuring the image of a low cloud hovering over a pond, before billowing up into a mesmerizing series of shapes and colors. It’s exciting to see Sperling achieve wider recognition for her Loïe Fuller inspired fabric, motion, and light work.

I can’t decide if Lovette’s “Recess” suffers more from its placement on the program where it’s overshadowed by Taylor’s “Esplanade,” or from its not quite ready for prime time state. “Recess” is served from the same orange sherbet dipper of “Esplanade’s” playful exuberance, and it pales in comparison. Framed by Libby Stadstad’s candy colored set, the piece opens with silhouetted dancers forming a human sculpture the shape of a playground jungle gym. The kids-play of this section feels fuzzy and ill-defined, yet I admire the change in dynamic when Lovette moves into an adagio section with finger snapping and strong solo turns for Duvenick and Ferretti. Still a developing talent, it’s unrealistic to expect Lovette’s work to stand up next to Taylor’s most famous. Novak’s choreographer in residence program grants foundational support and time for a burgeoning talent like Lovette to grow.

As if I’ve polished my eyeglasses during intermission, Taylor’s precision comes into crystal clear focus with “Esplanade,” with the mad up and down momentum, the famous running and sliding, the repeated jump-and-falls. Pearman is effervescent in the role of the girl who bounces like a ping pong ball over one prone body then the next in a row. (Am I misremembering more of this impossible feat in previous productions?) Borres Casey also shines. I couldn’t help the lilt in my step as I headed back out into the troubled world.

Karen Hildebrand

Karen Hildebrand is former editorial director for Dance Magazine and served as editor in chief for Dance Teacher for a decade. An advocate for dance education, she was honored with the Dance Teacher Award in 2020. She follows in the tradition of dance writers who are also poets (Edwin Denby, Jack Anderson), with poetry published in many literary journals and in her book, Crossing Pleasure Avenue (Indolent Books). She holds an MFA from the Program for Writers at Warren Wilson College. Originally from Colorado, she lives in Brooklyn.

comments

Featured

REVIEWS | Karen Hildebrand

Lifted Spirits

Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.

Plus

REVIEWS | Victoria Looseleaf

Dream Come True

Talk about Gesamtkunstwerk! Jawole Willa Jo Zollar’s “SCAT!...The Complex Lives of Al & Dot, Dot & Al Zollar,” is just that—a total work of art: operatic in scale, replete with stellar musicians and singers, and the glorious dancers of Urban Bush Women, the troupe that Zollar founded in 1984, is also storytelling at its best.

Plus

REVIEWS | Róisín O'Brien

The Tragedy of Hamlet

Of all of Shakespeare’s plays, “Hamlet” might seem the hardest to adapt into dance. Its long soliloquies and a titular character stymied by indecision do not immediately scream movement potential.

Plus

REVIEWS | Cecilia Whalen

A Birthday Suite

Complexions Contemporary Ballet turned 30 this year, and their two-week residency at the Joyce Theater was a party.

Plus

Lifted Spirits

subscribe to the latest in dance

Karen Hildebrand

comments

Featured

Lifted Spirits

Dream Come True

The Tragedy of Hamlet

A Birthday Suite