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BWW Reviews: PAUL TAYLOR'S 1982 'Mercuric Tidings' Trumps His 2014 Premiere

BWW Reviews: PAUL TAYLOR'S 1982 'Mercuric Tidings' Trumps His 2014 Premiere

On the evening of March 20th 2014, as part of the Diamond Anniversary celebration of the Paul Taylor Dance Company at the Koch Theater, the troupe offered a triple bill that included a recent world premiere and an enduring favorite from 1982. The first two offerings, choreographed in 2012 and 2013 respectively, earned only tepid applause from everyone in the audience including me. The closing piece, on the other hand, rightfully received a nearly thunderous ovation and I was clapping as enthusiastically as the rest of the dancegoers. I only hope that this disparity between the work that was choreographed over three decades ago and those more newly created is not an indication that Taylor, at 83, is no longer turning out the top quality dances that secured him a place in the pantheon of great American modern dance pioneers.

The opener was "To Make Crops Grow". A program note says tersely that the story line involves villagers performing "holdovers of an ancient ritual". This appears to be a modernized version of the Rite of Spring with its sacrificial ending. However, Taylor did not set his rendition to Stravinsky. Instead, he used sections from Ferde Grofe's "Grand Canyon Suite". I found this choice to be unfortunate in that the music is instantly recognizable and calls to mind visions of the canyon. Also, for me the dance dragged on too long while one character after another pulled a slip of paper from the vessel held by the "Ritual Conductor" and then looked relieved not to have drawn the unlucky one. Pretty quickly, I knew what the climax and denouement would be. Somebody would draw the dreaded paper and become the sacrifice. That's exactly what happened, with a great deal of thrashing about and blowing bits of discarded paper. I found myself yearning for a signature Taylor work with plenty of dancing and no need to figure out what the content was supposed to mean.

I had to wait for the third piece to experience that. The second offering, which had its world premiere at the Koch on March 14th 2014, was another exercise in storytelling without much in the way of challenging or engaging movement. Entitled "Marathon Cadenzas", the work opened with a large sign from a real 1920s dance marathon and went on to present various solos and duets as the dancers were summoned to center stage by the cigarette-smoking emcee. At one point, two men dressed as sailors did a very ordinary hornpipe with cartwheels and pigeon wings. Later, a male dancer tossed off an extremely simple soft shoe that any beginning tapper could have accomplished.



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Sondra Forsyth Sondra Forsyth, a National Magazine Award winner and a member of the Dance Critics Association, founded Ballet Ambassadors in New York City and was the Artistic Director for 16 years. Sondra has served as a guest teacher for the American Ballet Theatre open classes and on the faculty of The School at Steps on Broadway, the Harkness Dance Center of the 92nd Street Y, the Interlochen Center for the Arts, and Studio de Ballet Opera in Beirut, Lebanon. She is currently Co-Editor-in-Chief of ThirdAge.com and formerly held the posts of Executive Editor at Ladies? Home Journal, Features Editor at Cosmopolitan, and Articles Editor at Bride?s. Sondra?s byline has appeared in Dance Magazine and Dance Spirit as well as many major publications. She is the author or co-author of twelve books and holds an M.A. from Harvard.



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by Barnett Serchuk