"A Field of Grass", "Airs", "Syzygy"
Paul Taylor Dance Company"
New York City Center
New York, NY
March 9, 2010
by Mary Cargill
Copyright © 2010 by Mary Cargill
The program notes defines syzygy as "the nearly straight line configuration of three or more celestial bodies in a gravitational system", as apt a description of three Taylor works as can be imagined. It could also describe any three Taylor dancers on stage; the company is currently filled with engaged, energetic, and interesting individuals. "A Field of Grass" is Taylor's homage/takeoff on the druggy youth of the late 1960's/early 1970's, set to recordings of eminently danceable songs by Harry Nilsson. To the dancers flying around in their bell bottoms, this period is probably seems as dated as the flapper-era was to those of us who were young when the songs were new, but this trip (in more ways than one) down memory lane was gloriously infectious. Infectious, but not completely glorified, as the Prodigal Son-like hero (this country boy who goes to New York City, and meets a feisty woman does resemble Balanchine's Biblical hero) does glimpse a dark side, even though the ending is up-beat. Robert Kleinendorst had a wonderful aw shucks accent to his steps, and Annmaria Mazzini danced ferociously as the city girl he meets.
"Airs" is one of Taylor's barefoot blanc dances; though the costumes are pale turquoise, the choreography (to Handel) is pure and serene and gives off a pure, white light. Laura Halzack was stately as the odd girl out; even this most heavenly of Taylors' works, there is a hint of darkness. Kleinendorst was astoundingly fleet of foot in the cheerful, fast variation, and Mazzini (who is having a wonderful season) and Orion Duckstein were secure, if understandably careful, in the heavy lifting variation.
"Syzygy" is a perpetuum mobile work, with movement squirting through the dancers' bodies. These movements are both weighted and fluid, and the company looks like a glorious blur. Julie Tice was the calm center, posing like a statue of Mercury, the Messenger, though she too was eventually caught up in the maelstrom. This work is more anonymous than many of Taylor's pieces, with each dancer part of a glorious blur, though there is again an undertone of menace towards the end, as a tinge of violent competitiveness appears. There is little in Taylor that is completely straightforward, except, of course, his amazing dancers.
copyright © 2010 by Mary Cargill
Photo: Annmaria Mazzini in "Syzygy" by Lois Greenfield
