PAUL TAYLOR'S AMERICAN MODERN DANCE



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3.11.15 – 3.29.15

PERFORMANCES

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Tuesday,
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Tuesday,
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March 11, 7pm:
March 12, 6:30pm:    
March 13, 8pm:
March 14, 2pm:
March 14, 8pm:
March 15, 2pm:

March 17, 7pm:
March 18, 7pm:
March 19, 7pm:
March 20, 8pm:
March 21, 2pm:
March 21, 8pm:
March 22, 2pm:

March 24, 7pm:
March 25, 7pm:
March 26, 7pm:
March 27, 8pm:
March 28, 2pm:
March 28, 8pm:
March 29, 2pm:
ARDEN COURT | SEA LARK* | ESPLANADE
GALA: COMPANY B | TROILUS AND CRESSIDA (REDUCED) | BRANDENBURGS
BELOVED RENEGADE | UNTITLED NEW WORK* | ESPLANADE
CLOVEN KINGDOM | EVENTIDE | COMPANY B
SYZYGY | PASSACAGLIA | BELOVED RENEGADE
SYZYGY | SEA LARK* | BRANDENBURGS

RITE OF SPRING | THE WORD | PROMETHEAN FIRE
AUREOLE | TROILUS AND CRESSIDA (REDUCED) | NEW WORK* | CLOVEN KINGDOM
SEA LARK* | LAST LOOK | DIGGITY
RITE OF SPRING | COMPANY B | PIAZZOLLA CALDERA
DIGGITY | THE WORD | ESPLANADE
SUNSET | UNTITLED NEW WORK* | BRANDENBURGS
COMPANY B | PASSACAGLIA | PIAZZOLLA CALDERA

SUNSET | EVENTIDE | PIAZZOLLA CALDERA
PASSACAGLIA | BIG BERTHA | TROILUS AND CRESSIDA (REDUCED) | BELOVED RENEGADE
RITE OF SPRING | DIGGITY | PROMETHEAN FIRE
AUREOLE | TROILUS AND CRESSIDA (REDUCED) | EVENTIDE | PASSACAGLIA
CLOVEN KINGDOM | LAST LOOK | ARDEN COURT
RITE OF SPRING | SEA LARK* | PROMETHEAN FIRE
SUNSET | UNTITLED NEW WORK* | ESPLANADE

* indicates Premiere

The inaugural season of PAUL TAYLOR’S AMERICAN MODERN DANCE brings to Lincoln Center a trove of treasures by the Dancemaker The New York Times calls “the greatest choreographer alive” – from the deeply poignant to the astonishingly athletic to the delightfully comic. Mr. Taylor also gives audiences the New York Premiere of Sea Lark, with set and costumes by his long-time design collaborator Alex Katz and a vibrant score by Francis Poulenc, and a World Premiere to be announced.

Mr. Taylor caused quite a stir in 1962 when he set Aureole to music by Handel rather than that of a contemporary composer. The multi-layered, groundbreaking Esplanade was acclaimed as “a classic of American dance” by The New Yorker upon its premiere 40 years ago. Like that work, the exuberant Brandenburgs is set to beloved concertos by Bach. The ever-popular Arden Court is propelled by symphonies of Boyce. Cloven Kingdom’s fascinating aural montage ranges from baroque to modern music as Mr. Taylor reveals the animal nature lurking just beneath man’s sophisticated veneer.

Hailed as “one of the great war poets” by The Times, Mr. Taylor presents Beloved Renegade, inspired by the life of American poet and Civil War nurse Walt Whitman. Company B juxtaposes the exuberance of Americans in the early 1940s with the tragedy of men who never returned from battle. Sunset is a heart-wrenching look at soldiers and the girls they meet who mourn their passing. On the considerably lighter side, dancers cavort around a stage littered with cutout dogs and a giant cabbage in the whimsical Diggity, and one of Shakespeare’s bitterest becomes an irresistible comic romp in Troilus and Cressida (reduced).

In Promethean Fire, Mr. Taylor shows how renewal of the spirit can follow a cataclysmic event. The Word depicts a community whose rigid conformity to authority is threatened by a seductive succubus. Last Look provides a disturbing  vision of victims of an apocalypse. Big Bertha tells the tale of a family whose visit to an amusement park turns nightmarish at the hands of an old-time nickelodeon. Eventide gently captures the coming together and parting of romantic couples. Piazzolla Caldera ignites the stage with the fiery passions of tango culture. And Syzygy is a virtual meteor shower of movement invention.

Doris Humphrey’s Passacaglia, according to the choreographer, “was inspired by the need for love, tolerance and nobility in a world given more and more to the denial of these things.” And Shen Wei’s Rite of Spring departs from the narrative of Nijinsky’s original ballet and offers a vigorous formal investigation of the pounding chords and rhythms in Stravinsky’s famed score.

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