On a crisp winter evening, the Paul Taylor Dance Company brought an invigorating burst of warmth and energy to the Royal Opera House's Linbury Theatre, presenting a finely polished programme of modern American classics. The company, founded in 1954 by the late Paul Taylor, a star performer with Martha Graham's ensemble, continues to honour his legacy with bold, athletic choreography that balances confident vigour with experimental flourishes and moments of darkness.
A Legacy of Athleticism and Innovation
Paul Taylor, who passed away in 2018, remains one of the towering figures of twentieth-century dance. His choreographic style is characterised by its dynamic physicality, seamlessly blending large, expansive movements with intricate details and occasional sombre undertones. The company's performance at the Royal Opera House serves as a testament to his enduring influence, offering audiences a vibrant skip through some of his most celebrated works.
Opening with Vitality: Brandenburgs
The evening commenced with Brandenburgs, a piece created in 1988 that provides an excellent introduction to Taylor's oeuvre. Set to a recording of Bach, six men and three women sprint through buoyant, lively steps with infectious enthusiasm. Dancers curl into elegant lines and cohesive groups, exchanging smiles as they whizz past one another. The piece is brimming with vitality and playful musical nuances, such as when each woman skips forward, with the third dancer embellishing the step with a spiky triple kick.
New Commissions: Under the Rhythm
Alongside its core Taylor repertory, the company also embraces contemporary creativity by commissioning new works. In Under the Rhythm, choreographer Robert Battle, who leads the Alvin Ailey American Dance Theater, pays homage to jazz traditions. Thirteen dancers, dressed in crisp white shirts, black trousers, hats, ties, and spats, form a striking chorus line. They dip in and out of stomping footwork, with sharp handclaps evoking the rhythmic patterns of tap dancing.
Against this zingy backdrop, Battle weaves a tapestry of diverse rhythms, including spoken word elements. The piece features two grounded, flowing solos set to spirituals, as well as a snappy vaudeville duet performed to Ella Fitzgerald's scat singing. As Fitzgerald's voice accelerates through multiple songs, dancers Alex Clayton and Lee Duveneck race gleefully to match her outrageous virtuosity, creating a thrilling display of syncopated movement.
The Sharpest Dancing: Piazzolla Caldera
The most incisive dancing of the evening emerged in Piazzolla Caldera, Taylor's 1997 tango-inspired work. The dancers imbue these steps with a sumptuous movement quality, paired with an undercurrent of confrontation. The flirtation within the piece carries a competitive edge, filled with power dynamics and unexpected emotional shifts.
In one particularly intimate duet, Devon Louis and Jada Pearman transform a tiny unison shuffle into a moment of profound connection, surpassing even the dramatic impact of a crotch-first leap onto a partner's shoulders. This scene evolves into a complex interplay as male couple John Harnage and Alex Clayton initially appear as observers but gradually entwine themselves into the drama, culminating in a needy four-way tangle.
While tango numbers can often risk falling into cliché, this rendition remains consistently unpredictable, teetering on a knife-edge of tension. Dancers sweep into grand closing poses only to collapse to the floor and crawl into the wings. Jessica Ferretti stalks through the action, deeply immersed yet maintaining an aloof detachment, delivering a searing finale that caps off a refined and exhilarating evening.
A Polished Evening of Dance
The Paul Taylor Dance Company's performance at the Royal Opera House showcases not only the athleticism and energy of modern American classics but also the company's commitment to preserving and expanding upon Taylor's legacy. With a blend of timeless repertory and innovative new works, the evening offers a masterclass in polished, dynamic dance that resonates with warmth and precision.
The production continues at the Royal Opera House's Linbury Theatre until 31 January, providing audiences with an opportunity to experience this athletic skip through modern American dance history.
