Each year, Paul Taylor brings us two new works he has created. Now, with his newish company mandate that Paul Taylor American Modern Dance celebrate and archive the modern dance medium, his company also dances new works by contemporary choreographers and also presents and preserves pieces from the historical repertory.
Paul Taylor’s The Word is a piece we have only caught once before. On the penultimate matinee of this season, it was presented along with Book of Beasts, as well as the elegant and dancerly Cascade, a work that Taylor created in 1999.
Book of Beasts (1971) is full of fantastical creatures. It is scored in 9 parts, to the music of Schubert, Weber, Saint-Saëns, Beethoven, Mozart, as well as Boccherini, Falla and Tchikovsky, all played with zest on a pedal harpsichord (recorded by E. Power Biggs.) John Rawlings raucous costumes conspire the Taylor’s mood of happy-go-lucky menace in this piece. The Word shares this mood of cheerful malevolence.
Do I look for too much meaning in the amusing patterns of the dance? Perhaps, but this is what I find: In The Word, there appears to be some zealotry with a bracing chaser in the form of a woman, who may or may not be Eve. The religious scholars are not in a garden like Eden, but they worship and genuflect.
On the matinee on Sunday, March 25th, is Taylor’s Brandenburgs, a dance that adds depth to the Bach score it inhabit. It will also feature the delicious Le Sacre du Printemps (The Rehearsal) and his new The Open Door.