Dance Review: Taylor’s Spring Break in Mexico keeps going and going!

Paul Taylor worked his magic with two excerpts from his works on ‘dreams’, De Sueños y De Sueños que se Repiten (2007), and the more well known Funny Papers (1994). Taylor a former Graham principal established himself as a virtuoso performer in the 50s before patterning two companies after his stylized technique. Taylor is a master storyteller and king of theatrical comedy. His work runs the gamut from the extremely humorous Funny Papers (1994) to the dark and moody work on dreams. His choreography is structured like a ballet with many scenes that closely follow the music. Taylor’s unique style incorporates current movement with a blend of classical ballet and Graham. The company members are some of the more ‘eye-popping’ in the industry… especially the men, who like Taylor, all boast swimmers physiques. His dancers are seasoned performers. The company keeps the work fresh by given’ it—from Taylor’s more technical style to musical theatre to Hip Hop—on command.

Taylor’s devout audience knows his works intimately and claps at the end of each scene. Funny Papers drew peels of laughter from the mostly silver haired crowd who had seen it many times before. The songs include oldies but goodies such as “Popeye the Sailor Man”, “I like Bananas…” and “Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini”. The dancers were sporting reverse black and white jumpsuits looking like Kid and Play or Salt n' Pepper in a definite shout out to the 1990’s. They entered dragging one another along the floor. The work was acrobatic and was flavored with old school Hip Hop steps such as the Running Man and the Roger Rabbit. However, the company still killed the more lyrical technique flawlessly. This piece would have been more relevant in 1994 than in 2008, but the humor makes it work as a throw back.

If you have ever spent Spring break in Mexico then you will have no trouble interpreting the two scenes or Sueños taken from a larger work. The piece is absolutely fierce for its storyline, incorporating every thing from fantasy to nightmare, is all shown through the bottom the tequila bottle. Quoting Carl Jung, Taylor put this caption in the program, ‘I have know idea what this dream means.’ The work is amazing for its artistry. The opening scene is in color as a Senorita sells her flowers. The next scene switched to Black and White and features a Trani all done up like a Flamenco dancer. S/he is working hard entertaining four Gringos who insist s/he perform a Mexican hat dance. S/he complies by stomping and violating the hats in the worst way. The flower maiden returns with a man. The two dance a love duet, while upstage, a line of initiates enter sliding piously on their knees. All are mesmerized but the Golden Goddess (salvation) and Death (damnation) carrying a pink skull. However, it is a young ‘buck’ in a loincloth sporting the horns of a ‘ten-point stag’ that steels the show. He is ultimately killed with a machete and dragged offstage. The work goes on and one with one odd/funny/stunning/hypnotic scene after the next. You are trapped in Taylor’s South of the Border fantasy and it is a fun trip. I think he swallowed the worm!

As always, Taylor doesn’t disappoint, and his company is stronger than ever. I saw them in 2007 and 2008 performing some of his more classic works; yet, I felt that this season, the company really had an especially strong showing at the City Center. Bravo Taylor!

iDANZ Critix Corner
Official Dance Review by Sasha Deveaux
Performance: Paul Taylor Dance Company
Choreography: Paul Taylor
Venue: City Center, New York City
Date: Saturday, February 28, 2009, 8:00pm
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