By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
For years, the New York season of the Paul Taylor Dance Company has come in early March, and its repertory, like the coming spring equinox, divides dark and light equally. We've come to expect works that make our hair curl and ones that make our spirits soar, as well as devilish social satires that pucker our laughter like lemons in the mouth.
Sixteen major Taylor pieces grace the three-week season, along with two premieres. One new work, Spring Rounds, is a blithe romp in the spirit of Fiddler's Green (1999), Arabesque (2000), Dandelion Wine(2001), and last year's Klezmer Bluegrass. Santo Loquasto's pretty, interestingly cut costumes are light greenthe men wearing filmy shirts in a muted floral print, the women short dresses of the same fabric. Jennifer Tipton's always splendid lighting creates a sunny radiance. The music (played live only at the opening gala, by the Orchestra of St. Luke's under Donald York) may be the only odd thing about Spring Rounds. Richard Strauss channeling François Couperin makes for startling changes of tone and texture.
Taylor understands the power of circles, often bringing his dancers into rings for rituals or communal celebrations. The title of Spring Roundsalludes both to round dances and a world in which it's difficult to tell who's leading and who's following. The 14 performers feed into a line that becomes a circle of waltzing pairs, or gather around a central point as if by common agreement.
The most interesting aspect of Spring Rounds is the way Taylor establishes the ambience of community he so obviously prizes. When the curtain rises, Lisa Viola sits on the floor, and Sean Mahoney rests with his head in her lap. We might be in a country garden or park on a warm April day. The others arrive gradually. As they hurry here and there to greet one another, relationships and desires crop up so swiftly and briefly that we can scarcely take them in. They don't develop as such. In this friendly spring rite, the feeling of a picnic never quite disappears; people cluster at the back in informal poses to watch the variations on familiar Taylor themes and movements: the sturdy, boisterous men jumping wide-legged and in squats, or pairs of them pushing head-to-head; the women joining together in light, flirty allegro steps; tender duets; robustly lyrical solos (the most intriguing one for Michael Trusnovec, Viola's pensive one copied by Heather Berest). Viola is very pleased when Mahoney offers her a turn at laying her head on his lap. In this little world, fair play rules.
The opening-night audience seemed baffled by Lost, Found and Lost. The only things about this 1982 piece that sparkle are the rhinestones that stud the dancers' unisex black unitards and small widow's veils (Alex Katz's costumes recall their more remarkable forebearsRobert Rauschenberg's outfits for Taylor's 1964 Three Epitaphs). In LostTaylor recycles material from his infamous 1957 concert at the 92nd Street Y, in which the most banal of everyday movementswalking, running, etc.were interspersed with long, long passages of stillness. Theatricalized and set to what's billed as "supermarket music" by York, the movements, poses, and groupings of Lost suggest the lackadaisical way we often go through our livesslumped at bus stops, lining up for public toilets, having belligerent little set-tos with strangers, exploding in private. Viola (a terrific comedian as well as a lyrical wonder) has an alarming fit while Berest looks on. Taylor wittily times the bemused stares, double takes, and miffed retreats to depict the absurdities of city life that we take for normalcy.
I'd group Mercuric Tidings (1982) with the blithe pieces, except it's so damn fast and intricate, so densely designed to a torrent of music drawn from two Schubert symphonies. Viola and Richard Chen See frisk around each other in the opening allegro and entwine in the adagio. A chain of blondes (Julie Tice, Annmaria Mazzini, and Amy Young) passes through; garlands wind around soloists (Tice is particularly radiant). Mazzini dances brightly with Robert Kleinendorst. People invade and slip away from one another's patterns. Taylor keeps changing the stage picture as if cracking a kaleidoscopic view of the world into asymmetries Schubert never dreamed of.
Taylor's new dark piece, Banquet of Vultures, is very dark indeed. At first all we can see are little lights, like candle flames, scooting about in blackness. Throughout, Jennifer Tipton's lighting creates the feeling that things we can't quite make out lurk in the corners. It's almost impossible to identify individuals and gender among the roiling figures in their identical rouched gray jumpsuits. Santo Loquasto's costumes allude to metaphoric blindness: Veiling that from a distance looks helmet-like covers the dancers' heads; it also covers their eyes. When three people, possibly women, cluster squirming, we imagine animals sticking together for support. When three others (men this time) clump in the same spot, they start shoving and fighting. The battle mode may have been induced by the appearance of a man wearing a blue business suit with a red tie.
Trusnovec, Smith, Mahoney, and Duckstein in Banquet of Vultures
photo: Tom Caravaglia
Taylor has portrayed demagogues before (his great Speaking in Tongues is on view Thursday). For Banquet of Vultures' ruthless leader, brilliantly and horrifyingly danced by Michael Trusnovec, the choreographer employs the sleaziest and most tormented aspects of his movement vocabulary. Trusnovec twists and crouches, undulates and whirlsarms slashing, coat flapping. Under his proper attire, he may growing fur.