Paul Taylor has an “inquiring minds” approach to dancemaking, and I surmise from readings in his essays, the same ecleticism in his life.
In his dances we benefit from exposure to Taylor’s far-flung tastes and ideas. The wide range of his imagination excites and entices.
Often multiple viewings yield deeper and deepter understandings. His dance seems so simple and pure. Its complexity is incrementally revealed.
Sometimes it runs to the Gothic and lurid, as in Big Bertha or Promethan Fire or The Word. Sometimes a pleasing surface hides an undercurrent of pain or sadness, like Company B. Some works are an homage, like Le Sacre du Printemps… or To Make Crops Grow. There are memories from a long life, like Danbury Mix or Esplanade or Sea Lark.
When you’ve dug into the canon and feel sated, Paul Taylor presents you with a new and nourishing gem. He is prolific. Each season brings another work. One year, it was American Dreamer (2013), another Death and the Damsel (2015). This season, it’s The Open Door and Ports of Call. The latter is a World Premiere with its first showing on March 8th, and the former has been introduced elsewhere but will make its New York bow at the Gala on March 9th.
The pleasures of discovery await. The Lincoln Center season begins March 7th and runs through the 26th.
Be prepared to be astonished, delighted and enlightened.