Paul Taylor Dance Company Returns to London with Timeless Athleticism
The Paul Taylor Dance Company has made a long-awaited return to London, marking its first appearance in the capital in over twenty years. Currently performing at the Linbury theatre until the end of January, the company presents a programme that showcases both classic and contemporary works, reminding audiences why Taylor remains a towering figure in American modern dance.
A Joyful Ode to Simpler Times
At the heart of the programme is Brandenburgs, a piece created by Paul Taylor in 1988 that serves as a vibrant testament to his choreographic philosophy. Set to two of Johann Sebastian Bach's Brandenburg Concertos, the work unfolds with a remarkable blend of athleticism and grace. Dancers clad in green Grecian-style dresses execute movements with such precision and joy that even the most sceptical viewer is likely to be swept away by the sheer exuberance on display.
The choreography is characterised by its clear, sleek angles and open positions, evoking a sense of Euclidean geometry in motion. Each leap seems to defy gravity, with expansive gaps between the dancers' feet and the stage floor. Despite the incredible speed and numerous turns, the dance remains accessible and musical, harking back to a more straightforward, analogue age. It is a celebration of pure movement that feels both timeless and refreshingly direct.
Preserving a Legacy While Embracing the New
Since Paul Taylor's passing in 2018, the company has continued to honour his immense legacy while also fostering new creative voices. The programme includes Concertiana, Taylor's final work from 2018, ensuring that his later contributions are not forgotten. Alongside these preserved pieces, the company features works by resident choreographers, demonstrating a commitment to evolution within the framework Taylor established.
One such new voice is Robert Battle, the former artistic director of the Alvin Ailey American Dance Theater. His piece, Under the Rhythm, pays homage to his mother and the transformative power of dance. Infused with the vibrant energy of African American jazz and modern dance traditions, the work references everything from the lively rhythms of a Harlem dancefloor to the iconic stylings of the Nicholas Brothers. While it acknowledges the pain and prejudice underlying these cultural expressions, it ultimately celebrates virtuosity and showmanship with undeniable flair.
From Smouldering Tango to Divine Athletics
The programme also features Piazzolla Caldera, a tango-inspired piece from 1997 that delves into the gritty, sensual underworld of Buenos Aires. Here, the dancers exchange smiles for intensely smouldering expressions, conveying a narrative of passion and drama. Despite the effortful portrayal of ecstasy, the piece remains compelling and easy to watch, embodying Taylor's belief that dance should, above all, be enjoyable for its audience.
Throughout the evening, the dancers exhibit a level of technique and commitment that Martha Graham might have described as resembling the athletes of the gods. In Taylor's world, however, the divine inspiration seems to stem as much from Bach's compositions as from any mythological muse. The result is a performance that is both bravura and buoyant, offering a welcome respite from the complexity of contemporary life.
For those seeking dance that is recognisable, readable, and utterly joyous, the Paul Taylor Dance Company's London engagement is an unmissable event. It serves as a powerful reminder of the enduring appeal of well-crafted, analogue artistry in a digital age.
