3 EPITAPHS
| Opus Number: 4 Music: Early New Orleans jazz Costumes: Robert Rauschenberg Lighting: George Tacet Date First Performed: March 27, 1956 Notes: “A parade of faceless, gray-leotarded figures to early New Orleans jazz — funeral music — is one of the funniest dances anywhere. An essay on posture and gesture — and genius.” – Janice Berman, Newsday |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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9 DANCES WITH MUSIC BY CORELLI
| Opus Number: 40 Music: Arcangelo Corelli Costumes: Rouben Ter-Arutunian Lighting: William Ritman Date First Performed: March 31, 1965 |
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A FIELD OF GRASS
| Opus Number: 100 Music: Songs sung by Harry Nilsson Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 27, 1993 Notes: “A master of mixing dark and light, Paul Taylor outdid himself in A Field of Grass, a stunningly succinct recreation of the apocalyptic 1960’s and the decade’s appetite for love, death and drugs.” – Jennifer Dunning, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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AB OVO USQUE AD MALA (FROM SOUP TO NUTS)
| Opus Number: 84 Music: P.D.Q. Bach (Peter Schickele) Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: April 1, 1986 |
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 Photo: T. Brazil |
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AGATHE'S TALE
| Opus Number: 43 Music: Carlos Surinach (commissioned score) Costumes: Julian Tomchin Date First Performed: August 12, 1967 |
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 Photo: Jack Mitchell |
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AIRS
| Opus Number: 68 Music: G.F. Handel Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: May 30, 1978 Notes: “Airs is a new and distinctive vintage, of mellowness and classic finish that give it a sublime autumnal glow. Incredibly diversified and complex. The whole work is a treasure.” – Alan M. Kriegsman, Washington Post |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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ALSO PLAYING
| Opus Number: 130 Music: Gaetano Donizetti Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 8, 2009 Notes: Ballet music by Donizetti propels a Vaudeville revue with acts ranging from an Apache dance and a tap-dancing horse (a true hoofer) to a striptease and flag-waving march. Among the performers are a toreador whose sissy bulls are frightened of her, a dying swan in her lengthy final throes, and a star-struck stagehand who takes a turn with his broom. The dance is “Dedicated to all Vaudevillians, especially those who went on no matter what.” “A madcap tribute to vaudeville [that] celebrates the sublime and the ridiculous aspects of the traveling theater families who brought entertainment to small-town America between the Civil War and the advent of radio…. It reminds us that vaudeville was a rare breath of the world of art and music for young people in dusty farming towns. The vaudeville performers of old, if perhaps technically flawed, were plucky and gave their all.” – Kristen Fountain, Valley News |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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AMERICAN DREAMER
| Opus Number: 139 Music: Stephen Foster Songs sung by Thomas Hampson Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: August 5, 2013 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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AMERICAN GENESIS
| Opus Number: 58 Music: J.S. Bach, Franz Josef Haydn, John Fahey, Bohuslav Martinů and Louis Moreau Gottschalk Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: October 13, 1973 |
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 Photo: Z. Freyman |
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ANTIQUE VALENTINE
| Opus Number: 115 Music: J.S. Bach, Carl Maria von Weber, Joseph Haydn, Ludwig van Beethoven, Frederic Chopin and Felix Mendelssohn played on music boxes, player piano, and mechanical organ Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 26, 2001 Notes: Taylor skewers romance in a comedy of manners that depicts lovers as glassy-eyed robotic naifs responding less to love than convention. Wind-up dolls play out comic courtships to the strains of classical chestnuts performed on 19th-Century music boxes and player pianos. Taylor’s usual flowing movement is replaced by restricted mechanical steps within cotillion formations and Victorian-era social dances, slightly askew. The main protagonist is a bumbling ninny who is unable to fetch his sweetheart’s dropped hanky without losing his hat, and the flower he proffers makes both of them sneeze. Their nuptial ceremony suggests that marriage is sometimes the province of automatons. “A witty little existentialist allegory. Like all Mr. Taylor’s comic gems, it is a commentary on human foibles. Its world is inhabited by turn-of-the-century music-box figurines, surrogates for ourselves. When a doll-like dancer stiffly offers a posy to his sweetheart, she proves allergic: the human condition summed up in one big sneeze.” – Anna Kisselgoff, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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APHRODISIAMANIA
| Opus Number: 67 Music: Renaissance music re-orchestrated by Donald York Set and Costumes: Gene Moore Date First Performed: November 29, 1977 Notes: Scenario by Charles Ludlam |
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 Photo: J. Vartoogiam |
 Photo: S. Cook |
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ARABESQUE
| Opus Number: 111 Music: Claude Debussy Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 15, 1999 Notes: “Fascinating… A mysterious world of archaic creatures and fleeting encounters. Fierce, impossibly swift dancing that blends earthy ferocity with skimming airiness.” – Susan Reiter, Newsday |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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ARDEN COURT
| Opus Number: 73 Music: William Boyce Set and Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: April 15, 1981 Notes: “One of the few great art works created in [the 20th] century… exploring a new movement field of love and relationship. The women dance into the men’s arms as if Shakespeare had only written Romeo and Juliet the day before yesterday. I am convinced that this is one of the sentimental works of our time… something extraordinary in the history of dance. It bounces to a different drummer.” – Clive Barnes, New York Post |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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AUREOLE
| Opus Number: 30 Music: George Frideric Handel Set and Costumes: George Tacet Lighting: Thomas Skelton Date First Performed: August 4, 1962 Notes: “Aureole, perhaps his first major success, was the first time Taylor combined his loping antelope style of movement with baroque music, and its grace and individuality instantly spun into orbit throughout the world of dance. There is an interestingly variegated luminosity of spirit that recalls fluffy clouds on Shakespeare’s summer’s day.” – Clive Barnes, New York Post |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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BANQUET OF VULTURES
| Opus Number: 123 Music: Morton Feldman Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 29, 2005 Notes: “Paul Taylor might be the only American choreographer I would trust with the subject of war, and Banquet of Vultures is one of his most jarring and effective works… The choice of music is Taylor’s genius stroke… what one might have heard at Abu Ghraib.” – Paul Horsley, Kansas City Star |
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 Photo: Tom Caravaglia |
 Photo: Tom Caravaglia |
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BELOVED RENEGADE
| Opus Number: 129 Music: Francis Poulenc Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 21, 2008 Notes: Set to Francis Poulenc’s choral “Gloria,” the dance was inspired by the life and work of 19th Century American writer Walt Whitman, who revered the body and soul as one and who famously loved all with equal ardor. It depicts the experiences of an artist described in a line from Whitman’s “Leaves of Grass”: “I am the poet of the body and I am the poet of the soul.” Scenes from his life include watching youngsters at play, and tending to the afflicted just as Whitman nursed wounded soldiers during the Civil War. After his own mortality is foretold, the poet bids poignant farewell to those who love him. He is then embraced by a benevolent feminine spirit with “the sure-enwinding arms of cool-enfolding death.””The best new choreography in 2008. Deeply moving… a work of philosophic as well as dramatic power. Mr. Taylor ranks among the great war poets… One of the great achievements of his long career and one of the most eloquently textured feats of his singular imagination.” — Alastair Macaulay, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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BIG BERTHA
| Opus Number: 50 Music: Music from the St. Louis Melody Museum collection of band machines Set and Costumes: Alec Sutherland Lighting: Jennifer Tipton Date First Performed: November 6, 1970 Notes: “A hair-raising, though provoking, brilliant work that starts out as hilarious comedy and ends as tragedy…It moves with inescapable power from innocent pleasures to incestuous rape” – Dorothy Samachson, Chicago Daily News |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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BIG BERTHA DUET FOR TELEVISION
| Opus Number: 51 Notes: Duet for television first aired March 1971 |
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BLACK TUESDAY
| Opus Number: 114 Music: Songs from the Great Depression Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 10, 2001 Notes: The once mighty jumped to their deaths from skyscrapers, former millionaires sold apples on street corners, and every metropolis sprouted Shantytowns. America was in the grip of the Great Depression – but rather than dwell on its terrible effects, popular culture from Tin Pan Alley to Hollywood celebrated the nation’s can-do spirit. Paul Taylor recalls the valiant souls of the ’30s with a masterwork from his Americana series. He peoples his Shantytown with Vaudevillians and Doughboys, hookers and showgirls, all eking out a meager existence on the streets of the city. Music hall hoofers recall their heyday, down-and-out couples jitterbug down Park Avenue, a pimp continues to hawk his wares, and a newsgirl pretends to slay the big bad wolf that is the Depression. Sections set to “The Boulevard Of Broken Dreams” – the era’s great torch song – and “Brother, Can You Spare A Dime?” – its enduring anthem – powerfully illustrate the tragedy of shattered hopes and dreams.“[Taylor is] still making waves in the dance world with his quirky, beautiful, dark, inventive and visceral work. Black Tuesday, set to songs from the Great Depression, could be added to a file titled, ‘Paul Taylor’s Master Works’. All elements, combined to provide the ultimate experience of seeing a world come to life before your eyes…“ – Susan Broili, Durham Herald-Sun |
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 Photo: Paul B. Goode |
 Photo: © Lois Greenfield |
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BOOK OF BEASTS
| Opus Number: 52 Music: Schubert, Weber, Saint-Saëns, Mozart, Beethoven, Boccherini, de Falla and Tchaikovsky, transcribed for harpsichord Costumes: John Rawlings Lighting: Jennifer Tipton Date First Performed: July 2, 1971 Notes: “A sardonic suite that mocks human foibles, medievalism, music and dance conventions in thoroughly beguiling ways. A lovely, fiendishly clever dance.” – Deborah Jowitt, Village Voice |
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BRANDENBURGS
| Opus Number: 88 Music: Johann Sebastian Bach Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 5, 1988 Notes: “Beauty is the only word for Brandenburgs…[which] celebrates the good things in life. Such a radiant, seamless flow of invention that the choreography seems an entirely natural way of moving to this music.” – Mary Clarke, Manchester [UK] Guardian |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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BRIEF ENCOUNTERS
| Opus Number: 131 Music: Claude Debussy Costumes: Santo Loquasto Lighting: James F. Ingalls Date First Performed: November 6, 2009 Notes: A dance about people more concerned with momentary connections than ongoing relationships. Men and women converge at a secret trysting place in the dead of night – not for romance, but to satisfy their pure animal instincts. “The dancers, beautifully adult and near naked in trim black underwear, passed through transient scenes of sexual desire, emotional perplexity and more… Every emotion and meeting seems young, pristine, mysterious.” — Alastair Macaulay, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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BYZANTIUM (...BYZANTIUM)
| Opus Number: 81 Music: Edgard Varèse Set: David Gropman Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: March 20, 1984 Notes: In a dance with stunning movement invention, spectacular sets and a spiky score by 20th Century iconoclast Edgar Varèse, Paul Taylor recalls the Byzantine Empire, an economic, political and cultural “superpower” whose thousand-year reign ended in the 15th Century. The dance begins with a quartet of holy figures performing a religious ceremony, after which a flagellant engages in repentance. With the passage of time, morality decays and, with the dancers staggering as if from an earthquake, the empire collapses – as empires often do.“Taylor is revisiting the Dante circles of hell… A savage work, full of brutalized images, pictures of destruction and suggestions of decay. Taylor’s apocalyptic vision is gross and nasty, appallingly graphic, yet mightily effective in its fierce-etched power.” – Clive Barnes, New York Post |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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CASCADE
| Opus Number: 110 Music: Johann Sebastian Bach Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 22, 1999 Notes: “Cascade glitters. The central section…is one of Mr. Taylor’s most beautiful duets. The two bodies fold in and out of themselves…in choreography that pours out like thick cream. One can see, in this duet particularly, Mr. Taylor’s gift for subtle emotional detail.” – Jennifer Dunning, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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CHANGES
| Opus Number: 128 Music: Songs sung by The Mamas & The Papas Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 22, 2008 Notes: The 1960s began in a spirit of unbridled optimism, with Americans electing the youngest President ever. That optimism was short-lived, dashed by assassinations, race riots and the nation’s tragic involvement in the Vietnam War. Changes revisits that time through songs of the iconic folk/rock group, The Mamas and The Papas. The opening section reveals snippets of popular dance steps as an announcer introduces the vocal group at a rock concert. After we’re reminded that this was the era of “free love,” the dance grows dark with sections about an impending earthquake, hallucinogenic drugs and the growing radicalization of young people as they defied authority and embraced liberation movements. In a dream sequence, a boy learning from a father figure hurts himself and is comforted by the older man. The dance climaxes with an anthem of the era, “California Dreamin’”, uniting the disillusioned young people. A program note states that while we remember the turbulent ’60s as unique, in fact they were not – 40 years later the country is again involved in an unpopular war amid demands for change, indicating that the more things change, the more they stay the same. “A spellbinding time capsule of the Californian 1960s… The dancers’ re-enactment of the ’60s in an extraordinary feat of acting. The costumes and wigs are deliciously period… It travels from episode to episode, each depicted and shaped with mastery, all vivid and different.” — Alastair Macaulay, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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CHURCHYARD
| Opus Number: 48 Costumes: Alec Sutherland Lighting: Jennifer Tipton Date First Performed: December 10, 1969 |
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 Photo: Jack Mitchell |
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CIRCUS POLKA
| Opus Number: 2 Music: Igor Stravinsky Costumes: Robert Rauschenberg Lighting: Marc May and John Robertson Date First Performed: March 15, 1955 |
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 Photo: Stephan |
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CLOVEN KINGDOM
| Opus Number: 63 Music: Arcangelo Corelli, Henry Cowell, and Malloy Miller Costumes: Women’s Costumes by Scott Barrie, Headpieces by John Rawlings Lighting: Jennifer Tipton Date First Performed: June 9, 1976 Notes: “Man is a social animal,” said Spinoza. Just below the surface of humans’ civilized veneer lurks an animal nature that cannot be ignored. The scene is a cotillion ball where members of high society are dressed in formal attire – the gentlemen in tailcoats and the ladies wearing gowns and mirrored headpieces. A baroque score vies for dominance with urgent, percussive 20th-Century music, reflecting the struggle between our gentler and more savage natures. As primitive impulses emerge, the women plant seeds and bear progeny, while the men seem no longer to wear tails but bear tails. They prance and stalk on all fours, and their totemic friezes suggest the prehistoric ancestors from whom we have descended. Although the dance ends on a triumphant note with social structures intact, it has become clear that we are not separate from animals, we are animals.“A sharp comedy of manners [about] the conflicting natures within people and, more specifically, the darker side that surfaces under the veneer of gentility. Revealing their true selves, the dancers turn humorously grotesque. The writhe as well as waltz, they crawl as well as glide. There’s so much movement-invention that it is hard to take everything in.” – Anna Kisselgoff, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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COMPANY B
| Opus Number: 96 Music: Songs sung by the Andrews Sisters Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: June 20, 1991 Notes: Just as America began to emerge from the Depression at the dawn of the 1940s, the country was drawn into the Second World War. In a seminal piece of Americana, Paul Taylor recalls that turbulent era through the hit songs of the Andrews Sisters. Although the songs depict a nation surging with high spirits, millions of men were bidding farewell to wives or girlfriends and many would never return from battle. The dance focuses on such poignant dualities. Young lovers lindy, jitterbug and polka in a near manic grasp for happiness while in the background shadowy figures – soldiers – fall dead. Among the sections of the dance, the one choreographed to “Boogie Woogie Bugle Boy (of Company B)” is carefree until the moment the bugler is shot; the one set to “I Can Dream, Can’t I?” tells of a young lady’s affections for a soldier an ocean away who, for his part, reaches out to a comrade in arms. The dance ends just as it began, with “Bei Mir Bist du Schön” – but the world has clearly changed.“Evokes the exuberant rhythms of the ’40’s as well as the grim and persistent shadow of war. But even more vividly, it honors Taylor’s magnificent dancers. Some of the most glorious dancing to be seen anywhere…” – Laura Shapiro, Newsweek |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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CONCERTIANA
| Opus Number: 147 Music: Eric Ewazen – Concerto for Violin and Strings Set and Costumes: Willam Ivey Long Lighting: James F. Ingalls Date First Performed: March 7, 2018 |
COUNTERSWARM
| Opus Number: 89 Music: György Ligeti Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 28, 1988 Notes: “Entomological eroticism… as essay in movement invention. In this intriguing and insistent whirlpool of dance…the familiar had been made to look strange, the commonplace transformed into a glistening fantasy. If you think a cockroach can’t look exotic, you obviously haven’t seen Counterswarm.” – Anna Kisselgoff, New York Times |
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 Photo: © Lois Greenfield |
 Photo: © Lois Greenfield |
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DANBURY MIX
| Opus Number: 90 Music: Charles Ives Set: David Gropman Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: May 12, 1988 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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DANDELION WINE
| Opus Number: 113 Music: Pietro Locatelli Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 16, 2000 Notes: The vibrant rhythms of a Baroque violin concerto by Locatelli propel a joyful romp in which Paul Taylor captures the essence of springtime by spotlighting the fresh qualities of his youngest dancers. A master of ceremonies dressed in dandelion yellow leads carefree young men and women who might have begun their afternoon romp sipping a heady elixir. The women converse, the men compete. With the arrival of a playful outsider, a romantic duo becomes a trio, which signals her acceptance by the group. The steps mirror the growing intricacies of the violin’s florid cadenzas as the dancers, hand in hand, become absurdly intertwined. By retracing their steps, they find their way out of their entanglement. The dance ends with all the young lovers still holding hands, ladies perched merrily on the shoulders of their beaus.“An instant winner, a joyous ode to the springtime of life… one of his most dazzling works.” – Anna Kisselgoff, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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DANTE VARIATIONS
| Opus Number: 120 Music: György Ligeti Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 24, 2004 Notes: “Richly decadent choreography…tales of violence, lasciviousness and death. Boldly choreographed and deeply conceptual, Dante Variations left one feeling amused, hurt, emotionally drained.” – Paul Horsley, Kansas City Star |
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 Photo: © Lois Greenfield |
 Photo: © Lois Greenfield |
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DE SUEÑOS (OF DREAMS)
| Opus Number: 126 Music: Agustín Lara, Juan García Esquivel, Osvaldo Golijov, B. García de Jesús, J. Elizondo, Ariel Guzik, Chalino Sánchez Set and Costumes: Santo Loquasto Lighting: Jennifer TIpton Date First Performed: July 12, 2007 Notes: De Sueños (of dreams) and its companion piece, De Sueños que se Repiten (of recurring dreams), are surrealistic dreamscapes that take place on the Day of the Dead, a Mexican holiday combining aspects of Catholic theology and Aztec culture when deceased relatives are honored. A series of images reference such aspects of Mexican culture as the Virgin of Guadalupe, hat dance and deer dance. The music of several contemporary Mexican composers, as well as elaborate sets and lighting, intensify the cinematic, other-worldy quality of the dances. The two works may be presented together or separately and in either order. “A dream of a dance. This vision conjures up a host of characters who would never appear together in waking life. Taylor’s ‘dream’ provides so vivid, I think these characters will invade my dreams… Thank goodness, Taylor’s are more thrilling than mine.” – Susan Broili, Durham Herald-Sun |
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 Photo: Paul B. Goode |
 Photo: Tom Caravaglia |
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DE SUEÑOS QUE SE REPITEN (OF RECURRING DREAMS)
| Opus Number: 127 Music: Ariel Guzik, Silvestre Revueltas, Margarita Lecuona, Robert Gómez Bolaños, Severiano Briseño Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 2, 2007 Notes: De Sueños (of dreams) and De Sueños que se Repiten (of recurring dreams) are surrealistic dreamscapes that take place on the Day of the Dead, a Mexican holiday combining aspects of Catholic theology and Aztec culture when deceased relatives are honored. A series of images reference such aspects of Mexican culture as the Virgin of Guadalupe, hat dance and deer dance. The music of several contemporary Mexican composers, as well as elaborate sets and lighting, intensify the cinematic, other-worldy quality of the dances. The two works may be presented together or separately and in either order. “Fabulous new works… For all their turbulence and the occasional human sacrifice, these Mexican dreamscapes are refuges, places where death sentences are commuted, where people dodge machete blows through magical substitutions, and the action may roll backward. These destinations are different from, but perhaps as comforting as, the “monuments of unaging intellect” in which Yeats sought consolation. [They] offer the youthful pleasures of comedy, strength and sensuality.” – Robert Johnson, Star-Ledger |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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DEATH AND THE DAMSEL
| Opus Number: 142 Music: Bohuslav Martinů: Cello Sonata No. 2 Set and Costumes: Santo Loquasto Lighting: James F. Ingalls Date First Performed: March 13, 2015 |
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DIGGITY
| Opus Number: 69 Music: Donald York (commissioned score) Set and Costumes: Alex Katz Lighting: Mark Litvin Date First Performed: November 3, 1978 Notes: “A mysteriously joyous… wonderful, crazy excursion into the unknown. Taylor has bestrewn the stage with wonderful Alex Katz profiles of dogs – mean, handsome, arrogant, underprivileged – that provide an obstacle course for Taylor’s dancers…who swing their way through the obliquely simple choreography with an almost contemptuous élan.” – Clive Barnes, New York Post |
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 Photo: Johan Elbers |
 Photo: Whitney Browne |
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DILLY DILLY
| Opus Number: 144 Music: Songs sung by Burl Ives Set and Costumes: Santo Loquasto Lighting: James F. Ingalls Notes: “Dilly” is a shortening of “delightful.” Date First Performed: February 20, 2016 |
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DREAM GIRLS
| Opus Number: 117 Music: Barbershop quartet songs sung by The Buffalo Bills Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 18, 2002 Notes: “So politically incorrect in so many directions it almost seems to be tweaking earnest downtown dance, but spinning out with such complete mastery of the turn-of the-century vernacular — high vaudeville and low burlesque — it’s bliss” – Laura Jacobs, The New Criterion |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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DUETS
| Opus Number: 47 Music: Anonymous Medival Composers Costumes: George Tacet Lighting: Judith Daykin Date First Performed: August 2, 1969 |
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DUST
| Opus Number: 66 Music: Francis Poulenc Set and Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: June 1, 1977 Notes: “The man is a genius [which he demonstrated] again with a fantastic new and macabre ballet. Remarkably well danced, with the company moving through this Goya-like vision of hell-in-life with the even-humored energy of athletes.“ – Clive Barnes, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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EQUINOX
| Opus Number: 80 Music: Johannes Brahms Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: December 1, 1983 Notes: “A complex and lovely work…beautifully wrought and surreptitiously gripping. A neo-classical abstraction in the line of Aureole and Arden Court, with an emphasis on musically motivated movement patterns and formal elegance.” – Alan M. Kriegsman, Washington Post |
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 Photo: Paul B. Goode |
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ESPLANADE
| Opus Number: 61 Music: Johann Sebastian Bach Costumes: John Rawlings Lighting: Jennifer Tipton Date First Performed: March 1, 1975 Notes: An esplanade is an outdoor place to walk; in 1975 Paul Taylor, inspired by the sight of a girl running to catch a bus, created a masterwork based on pedestrian movement. If contemporaries Jasper Johns and Robert Rauschenberg could use ordinary “found objects” like Coke bottles and American flags in their art, Taylor would use such “found movements” as standing, walking, running, sliding and falling. The first of five sections that are set to two Bach violin concertos introduces a team of eight dancers brimming with Taylor’s signature youthful exuberance. An adagio for a family whose members never touch reflects life’s somber side. When three couples engage in romantic interplay, a woman standing tenderly atop her lover’s prone body suggests that love can hurt as well as soothe. The final section has dancers careening fearlessly across the stage like Kamikazes. The littlest of them – the daughter who had not been acknowledged by her family – is left alone on stage, triumphant: the meek inheriting the earth.“When I left the theater… I was thinking that I’d seen a classic of American dance. It confers a mythic dimension on ordinary aspects of our daily lives – it’s unfaked folk art. The dancers, crashing wave upon wave into those falls, have a happy insane spirit that recalls a unique moment in American life – the time we did the school play or we were ready to drown at a swimming meet. The last time most of us were happy in that way.” – Arlene Croce, The New Yorker |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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EVENTIDE
| Opus Number: 105 Music: Ralph Vaughan Williams Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: February 25, 1997 Notes: “The American spirit soars when Taylor’s dances and dancers meet, but rarely has it reached the sublime heights of this piece. It is a paean to remembered love, with couple after loving couple looking back even as they embrace an unknown future… It is bittersweet but, typical for Taylor, also optimistic and uplifting. An American masterpiece.” – Octavio Roca, San Francisco Chronicle |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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FACT & FANCY (3 EPITAPHS & ALL)
| Opus Number: 95 Music: Early New Orleans Jazz, and Reggae Costumes: Robert Rauschenberg (3 EPITAPHS) and George Tacet Lighting: Jennifer Tipton Date First Performed: June 6, 1991 |
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 Photo: PTDC Archives |
 Photo: PTDC Archives |
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FETES
| Opus Number: 53 Music: Claude Debussy Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: October 16, 1971 |
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FIBERS
| Opus Number: 26 Music: Arnold Schoenberg Set and Costumes: Rouben Ter-Arutunian Date First Performed: January 14, 1961 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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FIBERS DUET FOR TELEVISION
| Opus Number: 33 Date First Performed: May 20, 1963 Notes: Duet for Television |
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FIDDLERS GREEN
| Opus Number: 108 Music: John Adams Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: May 23, 1998 |
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FIENDS ANGELICAL
| Opus Number: 112 Music: George Crumb Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 25, 2000 Notes: “A dark jewel; a black opal of a ballet… a formalized ceremony of good and evil. Blood and violence never seem very far away from these dancers…performing their sacramental duties with feverish dedication, supervised by the priestess with tempestuous authority. And like almost everything Taylor and his magnificent dancers touch, it is theater burned into the stage, and, even more, burned on the audience’s imagination.” – Clive Barnes, New York Post |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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FOREIGN EXCHANGE
| Opus Number: 49 Music: Morton Subotnick Set: Alex Katz Costumes: Alec Sutherland Lighting: Jennifer Tipton Date First Performed: April 28, 1970 |
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 Photo: PTDC Archives |
 Photo: PTDC Archives |
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FROM SEA TO SHINING SEA
| Opus Number: 39 Music: Charles Ives (later, commissioned score by John Herbert McDowell) Costumes: John Rawlings Lighting: Tom Skelton Date First Performed: March 31, 1965 Notes: “If the United States had a proper arts policy, Paul Taylor would be declared a national treasure…Sea [has a] naughtily satiric view of Lady Liberty and the other symbols of America ranging from Superman to the KKK… Darkly funny.” – Christine Temin, Boston Globe |
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 Photo: Jack Mitchell |
 Photo: Jack Mitchell |
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FUNNY PAPERS
| Opus Number: 101 Choreography: Sandra Stone, Mary Cochran, Hernando Cortez, David Grenke, Andrew Asnes and Patrick Corbin. Amended and combined by Paul Taylor Music: Novelty tunes Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 12, 1994 Notes: “A mega-hit…The recordings are side-splitting, the choreography is hilarious, the dancers are terrific…A new work so comic in its intensity that it would be a grave mistake to consider it only lighthearted…Taylor’s dedication [to the comics] speaks exactly to the human need that this dance satisfies so brilliantly and shrewdly” – Anna Kisselgoff, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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GOSSAMER GALLANTS
| Opus Number: 135 Music: Bedřich Smetana Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 19, 2011 Notes: Using movement inspired by insects, the dance offers a comedic view of mating rituals, in which the female of the species is often the stronger, predatory partner. |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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GUESTS OF MAY
| Opus Number: 54 Music: Claude Debussy Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: March 11, 1972 |
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HOUSE OF CARDS
| Opus Number: 74 Music: Darius Milhaud Set: Mimi Gross Costumes: Cynthia O’Neal Lighting: Jennifer Tipton Date First Performed: October 6, 1981 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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HOUSE OF JOY
| Opus Number: 136 Music: Donald York Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 17, 2012 |
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IMAGES
| Opus Number: 65 Music: Claude Debussy Costumes: Gene Moore Lighting: Mark Litvin Date First Performed: January 19, 1977 Notes: “All two-dimensional friezes, human endeavor frozen in time, and oracular obsolescence. It carries the feel of pottery shards, the dust of the British Museum, the surprise of a fall through the shaft of a buried gravesite in Tuscany where the flashlight reveals a brilliantly hued mural left by [Minoans].” – Allison Tracy, Berkshire Eagle |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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IMAGES AND REFLECTIONS
| Opus Number: 19 Music: Morton Feldman Costumes: (and props) Robert Rauschenberg Lighting: Tharon Musser Date First Performed: December 20, 1958 |
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 Photo: PTDC Archives |
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IMAGES AND REFLECTIONS FOR TELEVISION
| Opus Number: 20 Date First Performed: February 13, 1960 Notes: Version for Television |
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IN THE BEGINNING
| Opus Number: 118 Music: Carl Orff, orchestrated by Freidrich K. Wanek Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 9, 2003 Notes: In this Genesis tale as retold by Paul Taylor, Jehovah creates heaven and earth, and Adam and Eve, who in short order eat from the Tree of Knowledge and find themselves and their offspring banished from the Garden of Eden. Set to music by Carl Orff as performed by wind ensemble, In The Beginning presents a God capable of rage as well as the healing powers of redemption as he forgives his errant children. “A quick survey of the Book of Genesis (rather like the 40-minute dash round the Louvre). Wonderfully merry or anguished dances. The piece is sly, ambiguous and terrific. Taylor must have attended a really wonky Sunday school.” – Clement Crisp, Financial Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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INSECTS AND HEROES
| Opus Number: 27 Music: John Herbert McDowell (commissioned score) Set and Costumes: Rouben Ter-Arutunian Lighting: Louise Guthman Date First Performed: August 18, 1961 |
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 Photo: N. Tikhomiroff |
 Photo: Marchiori |
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JACK AND THE BEANSTALK
| Opus Number: 1 Music: Hy Gubernick (commissioned score) Set and Costumes: Robert Rauschenberg Lighting: Marc May Date First Performed: May 30, 1954 |
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 Photo: Stephan |
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JUNCTION
| Opus Number: 28 Music: Johann Sebastian Bach Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: November 24, 1961 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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KITH AND KIN
| Opus Number: 86 Music: Wolfgang Amadeus Mozart Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: April 28, 1987 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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KLEZMERBULEGRASS
| Opus Number: 121 Music: Traditional Klezmer and Bluegrass music, arranged by Margot Leverett Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 24, 2004 |
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 Photo: Lois Greenfield |
 Photo: Todd Rosenberg |
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LA NEGRA
| Opus Number: 32 Music: Mariachi music Costumes: George Tacet Lighting: George Tacet Date First Performed: January 24, 1963 |
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LAST LOOK
| Opus Number: 83 Music: Donald York Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: April 16, 1985 Notes: “A frightening vision of urban apocalypse…Last Look is so engrossing that when the lights go up for curtain calls, one wonders for an instant where these nine smiling young humanoids came from.” – Martha Duffy, Time |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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LE GRAND PUPPETIER
| Opus Number: 119 Music: Igor Stravinsky played on pianola Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 2, 2004 Notes: Set to a pianola version of Stravinsky’s score for the ballet “Petrushka,” Le Grand Puppetier is likewise about a puppet who is brought to life. Mr. Taylor’s story involves a malevolent emperor, his lovely daughter, and the effete courtier the emperor wants his daughter to marry. She, however, only has eyes for one of the emperor’s guardsmen. When the emperor brings a puppet to life to entertain his subjects, the puppet discovers human emotions. Eventually the puppet steals the emperor’s magic wand – the source of his power – and enslaves the emperor with it. Thus the plot of this beguiling dance tells us that which couple ties the knot depends on who winds up pulling the strings – but its underlying theme is that absolute power corrupts absolutely. “A quirky rethinking of Stravinsky’s “Petrushka”, heard in a recorded pianola version [that] makes you hear the score anew. It carries a cautionary punch. Only Taylor’s charmingly twisted imagination could supply the fable’s sudden, surprising double-reversal ending.” – Rachel Howard, San Francisco Chronicle |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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LE SACRE DU PRINTEMPS (THE REHEARSAL)
| Opus Number: 72 Music: Igor Stravinsky (arrangement for piano) Set and Costumes: John Rawlings Lighting: Jennifer Tipton Date First Performed: January 15, 1980 Notes: “It takes a genius to upstage another genius, and that’s just about what Paul Taylor accomplished in his deliciously berserk dance version of Igor Stravinsky’s hallowed, epoch-making score… Taylor uses this musical masterpiece as if it were simply a fiendishly interesting piece of music… in devising a dance charade of ever so brittle, arch and waspish humor.” – Alan M. Kriegsman, Washington Post |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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LENTO
| Opus Number: 44 Music: Franz Josef Haydn Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: August 12, 1967 |
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 Photo: PTDC Archives |
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LENTO DUET
| Opus Number: 38 Music: Franz Josef Haydn Costumes: George Tacet Lighting: Thomas Skelton Date First Performed: August 18, 1964 |
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 Photo: PTDC Archives |
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LINES OF LOSS
| Opus Number: 125 Music: Guillaume de Machaut, Christopher Tye, Jack Body, John Cage, Arvo Pärt and Alfred Schnittke Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 2, 2007 Notes: “Impossible to watch and not be moved to mourning. Lines of Loss is gut wrenching and gorgeous. As you would expect of Taylor, there is much that is beautiful but nothing that it prettified. It is serene one movement, raw and exposed the next.” – Rachel Howard, San Francisco Chronicle |
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 Photo: Tom Caravaglia |
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LITTLE CIRCUS
| Opus Number: 3 Music: Igor Stravinsky Set and Costumes: Robert Rauschenberg Lighting: John Robertson Date First Performed: June 6, 1955 |
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 Photo: Turchi |
 Photo: L. Stevenson Jr. |
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LOST, FOUND AND LOST
| Opus Number: 75 Music: Elevator music arranged by Donald York (commissioned score) Costumes and stage design: Alex Katz Lighting: Jennifer Tipton Date First Performed: April 14, 1982 Notes: In 1957, Paul Taylor presented a single performance of 7 New Dances – a concert that caused most of the audience to leave soon after it began, and Louis Horst, one of his mentors, to publish a celebrated review consisting of nine square inches of blank space. Nevertheless, Taylor felt his collection of postural ABCs had spotlighted the close kinship of posture to gesture, and that the “found” materials from which the dances were made – natural postures, ordinary walking and running – would, when presented on stage, offer a glimpse into a dance-related area that had gone more or less unnoticed. Since 1957 Taylor has occasionally returned to these roots; for example, Esplanade in 1975. One of the 7 New Dances – Events I – became the springboard for Lost, Found and Lost. The dance also features natural postures – such as people waiting impatiently in line, as if at a bank – set to “elevator music.” |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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MARATHON CADENZAS
| Opus Number: 140 Music: Raymond Scott Set and Costumes: Santo Laquasto Lighting: James F. Ingalls Date First Performed: March 14, 2014 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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MAY APPLE
| Opus Number: 17 Music: Performed in silence Costumes: Robert Rauschenberg Date First Performed: March 18, 1958 |
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MERCURIC TIDINGS
| Opus Number: 76 Music: Franz Schubert Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: April 20, 1982 Notes: “Danced for the sheer joy of it, the controlled expenditure of animal energy, poetry expressed as a time and motion of study, young people cavorting with the kinetic propensities of young godlets.” – Clive Barnes, New York Post |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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MERIDIAN
| Opus Number: 21 Music: Pierre Boulez Costumes: Louise Thompson Date First Performed: February 13, 1960 |
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 Photo: A. Jeffry |
 Photo: A. Jeffry |
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MERIDIAN RE-CHOREGRAPHED
| Opus Number: 23 Music: Morton Feldman Costumes: Alex Katz Date First Performed: June 10, 1960 Notes: Re-choreographed |
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MINIKIN FAIR
| Opus Number: 92 Music: David Koblitz, Douglas Wieselman and Thaddeus Spae Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 15, 1989 |
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 Photo: J. Mitchell |
 Photo: J. Elbers |
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MOONBINE
| Opus Number: 102 Music: Claude Debussy Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 13, 1994 |
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 Photo: PTDC Archives |
 Photo: PTDC Archives |
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MUSETTE
| Opus Number: 77 Music: George Frideric Handel Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: April 5, 1983 |
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MUSICAL OFFERING
| Opus Number: 85 Music: Johann Sebastian Bach, orchestrated by Anton Webern and Frank Michael Beyer Set and Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: April 8, 1986 Notes: In 1747, Frederick the Great, King of Prussia, asked Johann Sebastian Bach to compose a fugue based on the king’s own music; Bach responded with A Musical Offering, built entirely on that “excellently beautiful” royal theme. Some 240 years later, unfazed by how revered Bach’s final chamber work had become, Paul Taylor used it as the score for one of his most profound dances: a requiem. A woman whose life is being celebrated introduces the work’s movement vocabulary, the primitive look of which was inspired by wood sculptures from New Guinea. The ensemble mourns her imminent passing by rocking, their arms crossed at times in the ancient burial pose. In the poignant climactic duet, the woman’s partner tries desperately to prevent her leave-taking. A final glorious lift propels her ascent to the afterlife.“One of the most extraordinarily reverberant dances of our time… Taylor’s choreography has never seemed more profoundly inspired by its music, never more confident in its subtle shifts of tone and never richer in its radiant humanity… The piece flows with uncommon ceremonial splendor.” – Allan Ulrich, San Francisco Examiner |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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NIGHTSHADE
| Opus Number: 70 Music: Alexander Scriabin Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: April 19, 1979 Notes: “Taylor’s deliciously Gothic romance is a work to take along when stranded on a desert island. A mock Victorian melodrama that makes for some uneasy laughter, it is about sexual repression and false innocence. Taylor is often at his funniest, when he is at his most serious.” – Anna Kisselgoff, New York Times |
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 Photo: © Lois Greenfield |
 Photo: © Lois Greenfield |
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NOAH'S MINSTRELS
| Opus Number: 56 Music: Louis Moreau Gottschalk Set and Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: February 17, 1973 Notes: Became part of the full-evening work, American Genesis |
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 Photo: PTDC Archives |
 Photo: PTDC Archives |
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OBERTURA REPUBLICANA
| Opus Number: 8 Music: Carlos Chávez Costumes: James Waring Date First Performed: December 4, 1956 |
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OF BRIGHT & BLUE BIRDS & THE GALA SUN
| Opus Number: 94 Music: Donald York Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 25, 1990 |
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 Photo: PTDC Archives |
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OFFENBACH OVERTURES
| Opus Number: 103 Music: Jacques Offenbach Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 12, 1995 Notes: “Taylor-ed to keep you in stitches…Offenbach Overtures starts as a gentle spoof…but low comedy soon gets the upper hand, and you’re doubled over in laughing before you know it. A typical Taylor twist left the opening night crowd rolling in the aisles.” – Terry Teachout, Daily News |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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OH, YOU KID!
| Opus Number: 109 Music: Ragtime music (performed by the Paragon Ragtime Orchestra) Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: February 18, 1999 Notes: “Oh, You Kid!,” a term of admiration used in the early 1900s, sets the tone for a Coney Island-style revue. Costumed in period beachwear, the dancers perform vaudeville numbers and a melodrama to Ragtime medleys of patriotic and operatic tunes as well as such Tin Pan Alley hits as “Meet Me Tonight in Dreamland” and “Knockout Drops.” There are references to such popular social dances of the era as the Bunny Hop, Turkey Trot, Camel Walk, Lame Duck and Grizzly Bear. The Ku Klux Klan, which was thriving despite a ban on female members, is parodied in a skit in which an eager young lady attempts to join. In a poignant solo, a not-so-young “eccentric dancer” performs a grotesque hootchy-kootch number for what must be the millionth time; she pulls a muscle, her undergarment creeps up and she loses her directional focus, but at the insistence of her manager – and despite the dearth of applause – she gamely goes back on stage to finish. The piece ends with young people filled with optimism performing a joyful, lyrical dance to “’Till the Clouds Roll By.”“An exuberant romp… Sheer and wonderful entertainment. But Taylor reminds us that the era of the Keystone Kops was also the heyday of the KKK…” – Anna Kisselgoff, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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OPTION
| Opus Number: 22 Music: Richard Max Field (commissioned score) Costumes: Louise Thompson Date First Performed: February, 13, 1960 |
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 Photo: J. Lougee |
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ORBS
| Opus Number: 42 Music: Ludwig van Beethoven Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: July 4, 1966 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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OZ
| Opus Number: 98 Music: Wayne Horvitz and Robin Holcomb Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: First performed in 1991 |
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PARTY MIX
| Opus Number: 36 Music: Alexei Haieff Costumes: Originally by Nancy Azara; Re-designed by Alex Katz Lighting: Originally by Thomas Skelton; Re-designed by Jennifer Tipton Date First Performed: December 20, 1963 |
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 Photo: J. Mitchell |
 Photo: J. Mitchell |
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PERPETUAL DAWN
| Opus Number: 138 Music: Johann David Heinichen from the Dresden Concerti Set and Costumes: Santo Laquasto Lighting: James F. Ingalls Date First Performed: March 5, 2013 Notes: Set to sprightly baroque concertos, the dance depicts young people experiencing the awakening of love, perhaps for the very first time. |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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PHANTASMAGORIA
| Opus Number: 132 Music: Anonymous Renaissance Composers Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 15, 2010 |
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 Photo: Scott Suchman |
 Photo: Scott Suchman |
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PIAZZOLLA CALDERA
| Opus Number: 106 Music: Astor Piazzolla and Jerzy Peterburshsky Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: June 12, 1997 Notes: Neruda wrote of poetry that mirrors “the flawed confusion of human beings,” poetry “worn away as if by acid by the labor of hands, impregnated with sweat and smoke, smelling of lilies and of urine, splashed by the variety of what we do, legally or illegally… as impure as old clothes, as a body, with its foodstains and its shame, with wrinkles, observations, dreams, wakefulness, prophecies, declarations of love and hate, stupidities, shocks, idylls….” He might have been describing the predatory dance that originated in the brothels of Buenos Aires at the turn of the 20th Century: tango. The music of tango – with Spanish, Italian, Indian, African and Jewish influences – was taken to new heights by Astor Piazzolla. Without a single authentic tango step, Paul Taylor captures the essence of tango culture. In a dimly lit dive, working class men and women confront each other in sizzling sexual duets and trios: men with women, men with men and women with women. Two men too drunk for conquests perform a loopy dance as lamplights sway dizzily overhead. A woman who has searched desperately for a partner but failed to find one, collapses – as if mortally wounded by a night without passion.“Stunning. Taylor looks at the attitudes implicit of the tango – as sexual game, as social identity – and reshapes them. Seethes and flares with sexuality and develops a huge erotic charge. One of Taylor’s most astonishing (even for him) creations.” – Clement Crisp, Financial Times of London |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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PIECE PERIOD
| Opus Number: 31 Music: Vivaldi, Telemann, Haydn, Scarlatti, Beethoven and Bonporti Costumes: John Rawlings Date First Performed: November 8, 1962 Notes: “A barrel of laughs – a delicious lampoon of dance styles of various periods, climes and persuasions. Entertains through superb craftsmanship and genuine wit.” – Walter Terry, New York Herald Tribune |
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 Photo: Jack Mitchell |
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POETRY IN MOTION
| Opus Number: 35 Choreography: Co-choreographed with Katherine Litz Music: Leopold Mozart Costumes: Katherine Litz and George Tacet Lighting: Thomas Skelton Date First Performed: August 26, 1963 |
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POLARIS
| Opus Number: 64 Music: Donald York (commissioned score) Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: August 26, 1976 Notes: Audience perception is explored in a two-part work in which the dancers move within and around a large metallic cube designed by Alex Katz, to music by Donald York. The choreography of the first section is repeated step for step in the second section but performed by different dancers to different music and lighting. As the score changes from pastoral to menacing and the lighting darkens, the second set of dancers perform the steps with different emphasis and attack than the first, and as a result the viewer’s perception of the exact same choreography is altered. |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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PORTS OF CALL
| Opus Number: 145 Music: Jacques Ibert Set and Costumes: Santo Loquasto Lighting: James F. Ingalls Notes: The ports are Africa, Hawaii, Alaska and Midwest USA. Date First Performed: March 7, 2017 |
POST MERIDIAN
| Opus Number: 41 Music: Evelyn Lohoeffer de Boeck (commissioned score) Costumes: Alex Katz Lighting: William Ritman Date First Performed: March 31, 1965 |
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PRIME NUMBERS
| Opus Number: 104 Music: David Israel Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: January 10, 1997 |
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 Photo: Howard Schatz |
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PRIVATE DOMAIN
| Opus Number: 46 Music: Iannis Xenakis Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: May 7, 1969 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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PROFILES
| Opus Number: 71 Music: Jan Radzynski (commissioned score) Costumes: Gene Moore Lighting: Mark Litvin Date First Performed: July 28, 1979 Notes: “Mr. Taylor has created one of his most essential evocations of evil. The four dancers have come to seem bent on some dark private ritual, figures who have stepped off an archaic vase, loose in a world with which they are most terrifying at odds.” – Jennifer Dunning, New York Times |
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 Photo: © Lois Greenfield |
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PROMETHEAN FIRE
| Opus Number: 116 Music: J.S. Bach, orchestrated by Leopold Stokowski Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: June 6, 2002 Notes: Set to three keyboard works by Bach as richly orchestrated by Stokowski, Promethean Fire examines a kaleidoscope of emotional colors in the human condition. All 16 Taylor dancers, costumed in black, weave in and out of intricate patterns that mirror the way varied emotions weave themselves through life. A central duet depicts conflict and resolution following a cataclysmic event. But if destruction has been at the root of this dance, renewal of the spirit is its overriding message. A program note quotes Shakespeare, from Othello: Promethean fire “that can thy light relume.”“It has grandeur, majesty and a spiritual dimension. It is also quite simply one of the best dance works choreographed by Paul Taylor. …[The dancers] are building blocks in the human cathedral that Mr. Taylor constructs uncannily and perfectly with such powerful emotional resonance.” – Anna Kisselgoff, New York Times |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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PUBLIC DOMAIN
| Opus Number: 45 Music: Music Collage by John Herbert McDowell (commissioned score) Costumes: John Rawlings Lighting: Jennifer Tipton Date First Performed: October 8, 1968 |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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REBUS
| Opus Number: 18 Music: David Hollister (commissioned score) Costumes: Robert Rauschenberg Date First Performed: March 18, 1958 |
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 Photo: Turchi |
 Photo: Turchi |
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ROSES
| Opus Number: 82 Music: Richard Wagner and Heinrich Baermann Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: April 10, 1985 Notes: “Beautiful in its visual effects, poetic in its natural flow of movement. The piece is an ode to tenderness and blooms like a flower.” – Anna Kisselgoff, New York Times |
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 Photo: © Lois Greenfield |
 Photo: Paul B. Goode |
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RUNES
| Opus Number: 62 Music: Gerald Busby Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: August 13, 1975 Notes: “A major creation… The enormous pathos that arises in the final moments of [this striking heroic poem], when all the elements of the piece are combined and restated and still the momentum leaps ahead – this pathos comes from the unstoppable energy of what Taylor has set in motion.” – Arlene Croce, The New Yorker |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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SCUDORAMA
| Opus Number: 34 Music: Clarence Jackson Set and Costumes: Alex Katz Lighting: Thomas Skelton Date First Performed: August 10, 1963 Notes: With its performances in 2008, Paul Taylor’s legendary Scudorama returned to the stage for the first time in 35 years. The title combined the type of clouds that race across the sky before a storm with a 1960s term for “bigger and better” that to Taylor connoted “tacky.” In his autobiography, the choreographer termed Scudorama a “dance of death leavened with light touches.” The dance dates from 1963, when Americans were still in the grip of nuclear fear following the Cuban missile crisis. Taylor was keenly attuned to the anxiety of the era and expressed these unresolved tensions in the dance, which carries a program note quoting Dante: “What souls are these who run through this Black haze… These are the nearly soulless whose lives concluded neither blame nor praise.” Clarence Jackson’s commissioned score and Alex Katz’s set and costumes contribute to the work’s unsettling aura. Scudorama touched a chord with audiences from its very first performance (given in silence due to the loss of the orchestral score) and remained among the Company’s most popular pieces for a decade. Its renaissance marks the return of a piece of American dance history.“It’s been in hibernation for 40 years! And what a work it is. Made immediately after Taylor’s first great hit, the buoyant and sunlit Aureole, Scudorama – dark and desolate – was a deliberate rebuke to Aureole’s joyous optimism. It’s a view not of hell, though, but of purgatory; hell was to follow… Almost no one in the audience had ever seen Scudorama, and it was a revelation – a blazing declaration of Taylor’s talent. You can see in it not only his future but aspects of his past.” – Robert Gottlieb, New York Observer |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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SEA LARK
| Opus Number: 141 Music: Francis Poulenc Set and Costumes: Alex Katz Lighting: James F. Ingalls Date First Performed: November 8, 2014 Notes: Young friends enjoy a carefree sail, and their joyful interplay in and on the water at a beach makes for an idyllic afternoon. |
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 Photo: Whitney Browne |
 Photo: Whitney Browne |
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SEVEN NEW DANCES: DUET
| Opus Number: 14 Music: John Cage (commissioned score) Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 |
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SEVEN NEW DANCES: EPIC
| Opus Number: 10 Music: Telephone time signal Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 |
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SEVEN NEW DANCES: EVENTS I
| Opus Number: 11 Music: Wind sounds Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 |
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SEVEN NEW DANCES: EVENTS II
| Opus Number: 15 Music: Rain sounds Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 |
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SEVEN NEW DANCES: OPPORTUNITY
| Opus Number: 16 Music: “Noise” Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 |
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SEVEN NEW DANCES: PANORAMA
| Opus Number: 13 Music: Heartbeat sounds Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 |
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SEVEN NEW DANCES: RESEMBLANCE
| Opus Number: 12 Music: John Cage (commissioned score) Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 |
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SNOW WHITE
| Opus Number: 79 Music: Donald York (commissioned score) Set: David Gropman Costumes: Cynthia O’Neal Lighting: Jennifer Tipton Date First Performed: April 13, 1983 Notes: “Clever fun. The simple, curvy outlines of all the movement are uncannily like to cartoon characters’ in the Disney film, but the sardonic twists to plot and character are Taylor’s own…” – Tobi Tobias, New York Magazine |
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 Photo: PTDC Archives |
 Photo: J. Mitchell |
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SO LONG EDEN
| Opus Number: 55 Music: John Fahey Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: May 17, 1972 Notes: Became part of the full-evening work, American Genesis |
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SPEAKING IN TONGUES
| Opus Number: 91 Music: Matthew Patton Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 10, 1988 Notes: A melodic and haunting score with fragments of an evangelical broadcast propels this impressionistic look at religious fanaticism and hypocrisy in a town led by a charismatic preacher who is both fearsome man of God and weak-willed sinner. During the opening barn dance the town’s underlying fervor is revealed by a participant who has a fit that suggests “speaking in tongues” – the unintelligible utterances of religious emotion by possessed communicants at a prayer service. A Man of the Cloth emerges from a doorway that’s been burnt as if by hellfire; his frantic solo of contrasting movements shows a conflicted nature. The Odd Man Out, a misfit and non-believer, suffers the wrath of the community and of A Mother who mistreats Her Unwanted Daughter for fancying him. Repentant, he is welcomed into the fold. A Party Girl, whose conquests have included the preacher, has her way with some pious young men, while The Daughter Grown Up is abused again, this time by her husband. All the while, His Better Half is a gentle and forgiving influence on the troubled preacher and the community. The drama ends with the townspeople lying onstage – chairs clutched above them like so many crosses at Calvary – as an evangelist is heard railing against the faithless, declaiming “Their blood will be required in Your hands.“Amazing… Illuminates the scary underside of America’s most cherished definition of itself: one nation, under God. It’s not love but violence and despair that make this pious little world go round. Only a great choreographer with the mind of a great novelist could have created a work of such imaginative breadth – a category in which Taylor has no peer.” – Laura Shapiro, Newsweek |
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 Photo: Paul B. Goode |
 Photo: © Lois Greenfield |
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SPEAKING IN TONGUES FOR TELEVISION
| Opus Number: 97 Date First Performed: September 26, 1991 Notes: Version for television first aired in 1991 |
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 Photo: © Lois Greenfield |
 Photo: Paul B. Goode |
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SPINDRIFT
| Opus Number: 99 Music: Arnold Schoenberg Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 8, 1993 Notes: “A quietly resounding success. Sensuously but deliberately understated… and suffused with the very lyricism (a gift Taylor enjoys with Balanchine and precious few others, of making dance music cleave together in a seamless arc of song) which had always marked him out like some special child of the gods.” – Clive Barnes, New York Post |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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SPORTS AND FOLLIES
| Opus Number: 60 Music: Erik Satie Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: August 7, 1974 |
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 Photo: J. Mitchell |
 Photo: Lois Greenfield |
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SPRING ROUNDS
| Opus Number: 122 Music: Richard Strauss after François Couperin Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 5, 2005 Notes: “So Spring-like that it might as well have been designed to chase away stormy skies. The 14 dancers, moving in leaps and turns like birds and butterflies hypnotized by Strauss’s romantic music, capture the optimistic and seductive mood of sap rising.” – Alan Riding, New York Times |
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 Photo: © Lois Greenfield |
 Photo: © Lois Greenfield |
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SULLIVANIANA
| Opus Number: 143 Music: Sir Arthur Sullivan Set and Costumes: Santo Loquasto Lighting: James F. Ingalls Date First Performed: October 17, 2015 |
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SUNSET
| Opus Number: 78 Music: Edward Elgar (and recorded loon calls) Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: April 6, 1983 Notes: A poignant look at camaraderie among soldiers and the sweethearts they leave behind — which, according to The New York Times, first marked Paul Taylor as “one of the great war poets.”“Mr. Taylor’s deeply moving meditation on war, on men with women, on men with men, on loss, on memory is one of the few great dance works of the past quarter-century…Delicately presented, achingly sad…I’m always startled to meet people who aren’t moved to tears by it.” – Robert Gottlieb, New York Observer |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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SYZYGY
| Opus Number: 87 Music: Donald York (commissioned score) Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 21, 1987 Notes: Dancers hurtle across the stage like so many celestial bodies orbiting and eclipsing each other. “Full of utterly brilliant and seemingly disconnected shards of choreography. A full-throttle exercise in physicality, loose-limbed and speedy… It simply continues to increase its velocity, its sense of elfin delight, as the dance goes by. Leaves the audience gasping for more.” – Barry Johnson, The Oregonian |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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TABLET
| Opus Number: 24 Music: David Hollister (commissioned score) Set and Costumes: Ellsworth Kelly Date First Performed: July 1, 1960 |
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 Photo: Helga Gilbert |
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THE LEAST FLYCATCHER
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Opus Number: 5
Music: Robert Rauschenberg (commissioned score)
Costumes: Robert Rauschenberg
Date First Performed: May 6, 1956
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THE OPEN DOOR
| Opus Number: 146 Music: Sir Edward Elgar – Enigma Variations Set and Costumes: Willam Ivey Long Lighting: James F. Ingalls Notes: It features a host and his ten guests. Date First Performed: February 3, 2017 |
THE RED ROOM
| Opus Number: 37 Music: Gunther Schuller Set and Costumes: Alex Katz Date First Performed: June 20, 1964 |
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 Photo: C. Waldenfels |
 Photo: C. Musnik |
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THE SORCERER'S SOFA
| Opus Number: 93 Music: Paul Dukas Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 2, 1989 |
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 Photo: Paul B. Goode |
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THE TOWER
| Opus Number: 9 Music: John Cooper (commissioned score) Set: Robert Rauschenberg Costumes: Jasper Johns Date First Performed: 1957 |
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 Photo: L. Stevenson Jr. |
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THE UNCOMMITTED
| Opus Number: 134 Music: Arvo Pärt Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 21, 2011 Notes: In a comment on the impermanence of many relationships in the 21st Century, the dance looks at individuals who fail to make lasting connections. |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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THE WHITE SALAMANDER
| Opus Number: 25 Music: Joop Stokkermans (commissioned score) Costumes: Henk de Vries Date First Performed: October 11, 1960 |
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THE WORD
| Opus Number: 107 Music: David Israel (commissioned score) Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 4, 1998 Notes: The New Testament speaks of serving God with reverence and godly fear, “For our God is a consuming fire.” The students at a religious prep school have taken these words to heart. Dressed in identical uniforms that stress their lack of individuality, they conform blindly to a rigid system of beliefs. Their regimented devotion is challenged by an enigmatic, irreverent figure – a succubus – intent on wreaking havoc. The supplicants are haunted by her presence. Following a frenzy of fervor, the work ends with the pious youths marching in lockstep, trailed as ever by the demon.“The message was powerful, the performance so intense and involving that the mesmerized audience let out a sigh of exhaustion when it was over.” – Wilma Salisbury, Cleveland Plain Dealer |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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THREE DUBIOUS MEMORIES
| Opus Number: 133 Music: Peter Elyakim Taussig Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 30, 2010 Notes: With this dance, Mr. Taylor explores the subjective nature of memory. He dramatically illustrates that events may be recalled differently by various participants, each of whom believes in the accuracy of their own version. “The mind remembers facts the way it wants them to be,” according to the dance maker. |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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TO MAKE CROPS GROW
| Opus Number: 137 Music: Ferde Grofe Costumes: Santo Loquasto Lighting: James F. Ingalls Date First Performed: November 3, 2012 Notes: Villagers perform holdovers of an ancient ritual. |
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 Photo: Paul B. Goode |
 Photo: Paul B. Goode |
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TRACER
| Opus Number: 29 Music: James Tenny (commissioned score) Set and Costumes: Robert Rauschenberg Date First Performed: April 11, 1962 |
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 Photo: M. Swope |
 Photo: PTDC Archives |
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TROILUS AND CRESSIDA (REDUCED)
| Opus Number: 124 Music: Amilcare Ponchielli Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 15, 2006 Notes: Although based on one of Shakespeare’s bitterest plays, Troilus and Cressida (reduced) is a wickedly funny romance. Three Cupids awaken romantic notions in the two protagonists. Their bumbling courtship is interrupted when three Greek soldiers carry Cressida off while Troilus snoozes. His rescue attempt fails, but the soldiers lose interest in Cressida when they and the Cupids — now tipsy — become infatuated with each other. The dance ends with all happy ever after.“Taylor’s funniest work to date dazzles with bright-spirited, belly-laugh humor [turning] Shakespeare’s bitter play of love and betrayal into a hoot. At the root of his humor lies his astute observation of human nature involving romantic matters in which mere humans appear as stumbling, clueless oafs.” – Susan Broili, Durham Herald-Sun |
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 Photo: Paul B. Goode |
 Photo: Tom Caravaglia |
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TROPES
| Opus Number: 7 Music: Folk music Costumes: Robert Rauschenberg Date First Performed: December 4, 1956 |
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UNTITLED DUET
| Opus Number: 6 Music: Done in silence Costumes: Robert Rauschenberg Date First Performed: May 6, 1956 |
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 Photo: L. Stevenson Jr. |
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UNTITLED QUARTET
| Opus Number: 59 Music: Igor Stravinsky Costumes: Rouben Ter-Arutunian Lighting: Jennifer Tipton Date First Performed: February 16, 1974 Notes: Re-working of Fibers |
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WEST OF EDEN
| Opus Number: 57 Music: Bohuslav Martinů Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: October 13, 1973 Notes: Originally part of the full-evening work, American Genesis |
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