There is a lot of Taylor to love. This season was a celebration of the 50th anniversary of classics including Scudorama, the 25th anniversaries of Brandenburgs and Speaking in Tongues, plus the premieres of Perpetual Dawn and To Make Crops Grow, all by Taylor. An afternoon program with the delightfully funny Offenbach Overtures replete with myriad characters (a duet of funny drunks), witty costumes (glued on moustaches); the very pretty Perpetual Dawn and the grand Promethean Firewhich never stops offering up exquisite cannons and tableaus, were always anchored by Taylor’s genius as a dance-maker. Le Sacre Du Printemps (The Rehearsal) first performed in 1980, and one of only a few masterpieces choreographed to Igor Stravinsky’s “The Rite of Spring,” also returned this season with a bang. In Taylor’s version one must pay attention to the fact that he calls it “The Rehearsal,” but also that it’s a cops and robbers story told in way that it seems only he can—humor and brilliant dancing all wrapped up in one. How very cool, then, and looking at it now, that Taylor shunned away from the many other versions and created this work. Kudos and plaudits to the entire company for an excellent season.
Please choose a color:
I am a performer, historian, consultant and dance writer. I am a faculty member at Hunter College, Sarah Lawrence College (Guest), Empire State College's online program Center for Distance Learning. I am also a former faculty member of The Ailey School and the Alvin Ailey/Fordham University dance major program, Kean University and The Joffrey Ballet School's Jazz and Contemporary Trainee Program. I write on dance for The Amsterdam News, Dance Magazine and various publications. Click below to read more about me at my home page - "About Me."