PAUL TAYLOR'S AMERICAN MODERN DANCE



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3.10.15 – 3.29.15

PERFORMANCES

Tuesday,
Wednesday,     
Thursday,
Friday,
Saturday,
Saturday,
Sunday,

Tuesday,
Wednesday,
Thursday,
Friday,
Saturday,
Saturday,
Sunday,

Tuesday,
Wednesday,
Thursday,
Friday,
Saturday,
Saturday,
Sunday,
March 10, 7pm:
March 11, 7pm:
March 12, 6:30pm:    
March 13, 8pm:
March 14, 2pm:
March 14, 8pm:
March 15, 2pm:

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

March 24, 7pm:
March 25, 7pm:
March 26, 7pm:
March 27, 8pm:
March 28, 2pm:
March 28, 8pm:
March 29, 2pm:
ARDEN C0URT | BIG BERTHA | TROILUS AND CRESSIDA (REDUCED) | SYZYGY
ARDEN COURT | SEA LARK* | ESPLANADE
GALA: COMPANY B | TROILUS AND CRESSIDA (REDUCED) | BRANDENBURGS
BELOVED RENEGADE | DEATH AND THE DAMSEL* | ESPLANADE
CLOVEN KINGDOM | EVENTIDE | COMPANY B
SYZYGY | PASSACAGLIA | BELOVED RENEGADE
SYZYGY | SEA LARK* | BRANDENBURGS

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

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

* indicates Premiere

The inaugural season of PAUL TAYLOR’S AMERICAN MODERN DANCE brings to Lincoln Center a trove of treasures by the Dancemaker The New York Times calls “the greatest choreographer alive” – from the deeply poignant to the astonishingly athletic to the delightfully comic. Mr. Taylor also gives audiences the New York Premiere of Sea Lark, with set and costumes by his long-time design collaborator Alex Katz and a vibrant score by Francis Poulenc, and the World Premiere of Death and the Damsel. Orchestra of St. Luke's performs live music and Kent Tritle is organist for Passacaglia.

March 10:
The ever-popular Arden Court, with its examination of different kinds of relationships, is propelled by baroque symphonies by Boyce. Big Bertha tells the tale of an American family whose visit to an amusement park turns nightmarish at the hands of an old-time nickelodeon. One of Shakespeare’s bitterest plays becomes an irresistible comic romp set to Ponchielli’s Dance of the Hours in Troilus and Cressida (reduced). Syzygy, set to a score by Donald York, is a virtual meteor shower of movement invention.

March 11:
The ever-popular Arden Court, with its examination of different kinds of relationships, is propelled by baroque symphonies by Boyce. Set to a buoyant score by Poulenc and with set and costumes by Alex Katz, Sea Lark depicts young friends enjoying an idyllic afternoon at the beach. The multi-layered, groundbreaking Esplanade – at turns lighthearted, poignant and deeply probing -- was acclaimed as “a classic of American dance” by The New Yorker upon its premiere 40 years ago; it is set to Bach violin concertos.

March 12:
Company B juxtaposes the exuberance of Americans post-Depression, as heard in the pop songs of the Andrews Sisters, with the tragedy of men who never returned from World War II. One of Shakespeare’s bitterest plays becomes an irresistible comic romp set to Ponchielli’s Dance of the Hours in Troilus and Cressida (reduced). The exuberance of Brandenburgs matches that of the beloved concertos by Bach.

March 13:
Beloved Renegade traces the life of an artist inspired by poet Walt Whitman, and is set to music for soprano, chorus and orchestra by Poulenc. Set to a Martinu Cello Sonata, Death and the Damsel shares a young woman’s nightmares. The multi-layered, groundbreaking Esplanade – at turns lighthearted, poignant and deeply probing -- was acclaimed as “a classic of American dance” by The New Yorker upon its premiere 40 years ago; it is set to Bach violin concertos.

March 14 mat:
The fascinating aural montage in Cloven Kingdom ranges from baroque to modern music as Taylor reveals the animal nature lurking just beneath man’s sophisticated veneer. Eventide, with music by Vaughan Williams, gently captures the many phases of a relationship. Company B juxtaposes the exuberance of Americans post-Depression, as heard in the pop songs of the Andrews Sisters, with the tragedy of men who never returned from World War II.

March 14 eve:
Syzygy, set to a score by Donald York, is a virtual meteor shower of movement invention. Doris Humphrey’s 1938 Passacaglia was inspired by the need for love, tolerance and nobility in a world given to the denial of these; its Bach score is performed live by organist Kent Tritle. Beloved Renegade traces the life of an artist inspired by poet Walt Whitman, and is set to music for soprano, chorus and orchestra by Poulenc.

March 15:
Syzygy, set to a score by Donald York, is a virtual meteor shower of movement invention. With a buoyant score by Poulenc and set and costumes by Alex Katz, Sea Lark depicts young friends enjoying an idyllic afternoon at the beach. The exuberance of Brandenburgs matches that of the beloved concertos by Bach.

March 17:
In Shen Wei’s seminal Rite of Spring, set to a piano version of Stravinsky’s legendary score, dancers drift, tumble and soar across a geometric floor canvas, their collective physicality moving with the twists and turns of the music. With music by David Israel, The Word depicts a community whose rigid conformity to authority is threatened by a seductive succubus. Mr. Taylor shows how renewal of the spirit can follow a cataclysmic event in his magnum opus set to Bach, Promethean Fire.

March 18:
Mr. Taylor caused quite a stir in 1962 when he set the lyrical Aureole to baroque music -- by Handel -- rather than that of a contemporary composer. One of Shakespeare’s bitterest plays becomes an irresistible comic romp set to Ponchielli’s Dance of the Hours in Troilus and Cressida (reduced) . Set to a Martinu Cello Sonata, Death and the Damsel shares a young woman’s nightmares. The fascinating aural montage in Cloven Kingdom ranges from baroque to modern music as Taylor reveals the animal nature lurking just beneath man’s sophisticated veneer.

March 19:
Set to a buoyant score by Poulenc and with set and costumes by Alex Katz, Sea Lark depicts young friends enjoying an idyllic afternoon at the beach. Last Look, with music by Donald York, provides a disturbing vision of another side of humanity. Dancers cavort around a stage littered with coutour dogs and a giant cabbage in the whimsical Diggity, also with a score by Mr. York.

March 20:
In Shen Wei’s seminal Rite of Spring, set to a piano version of Stravinsky’s legendary score, dancers drift, tumble and soar across a geometric floor canvas, their collective physicality moving with the twists and turns of the music. Company B juxtaposes the exuberance of Americans post-Depression, as heard in the pop songs of the Andrews Sisters, with the tragedy of men who never returned from World War II. Piazzolla Caldera ignites the stage with the fiery passions of tango culture and the music of one of its greatest composers.

March 21 mat:
Dancers cavort around a stage littered with coutour dogs and a giant cabbage in the whimsical Diggity, with a score by Donald York. With music by David Israel, The Word depicts a community whose rigid conformity to authority is threatened by a seductive succubus. The multi-layered, groundbreaking Esplanade – at turns lighthearted, poignant and deeply probing -- was acclaimed as “a classic of American dance” by The New Yorker upon its premiere 40 years ago; it is set to Bach violin concertos.

March 21 eve:
Sunset, set to music by Elgar, is a heart-wrenching look at soldiers and the girls they meet who mourn their passing, and inspired the New York Times to declare Taylor “one of the great war poets.” Set to a Martinu Cello Sonata, Death and the Damsel shares a young woman’s nightmares. The exuberance of Brandenburgs matches that of the beloved concertos by Bach.

March 22:
Company B juxtaposes the exuberance of Americans post-Depression, as heard in the pop songs of the Andrews Sisters, with the tragedy of men who never returned from World War II. Doris Humphrey’s 1938 Passacaglia was inspired by the need for love, tolerance and nobility in a world given to the denial of these; its Bach score is performed live by organist Kent Tritle. Piazzolla Caldera ignites the stage with the fiery passions of tango culture and the music of one of its greatest composers.

March 24:
Sunset, set to music by Elgar, is a heart-wrenching look at soldiers and the girls they meet who mourn their passing, and inspired the New York Times to declare Taylor “one of the great war poets.” Eventide, with music by Vaughan Williams, gently captures the many phases of a relationship. Piazzolla Caldera ignites the stage with the fiery passions of tango culture and the music of one of its greatest composers.

March 25:
Doris Humphrey’s 1938 Passacaglia was inspired by the need for love, tolerance and nobility in a world given to the denial of these; its Bach score is performed live by organist Kent Tritle. Big Bertha tells the tale of an American family whose visit to an amusement park turns nightmarish at the hands of an old-time nickelodeon. One of Shakespeare’s bitterest plays becomes an irresistible comic romp set to Ponchielli’s Dance of the Hours in Troilus and Cressida (reduced). Beloved Renegade traces the life of an artist inspired by poet Walt Whitman, and is set to music for soprano, chorus and orchestra by Poulenc.

March 26:
In Shen Wei’s seminal Rite of Spring, set to a piano version of Stravinsky’s legendary score, dancers drift, tumble and soar across a geometric floor canvas, their collective physicality moving with the twists and turns of the music. Dancers cavort around a stage littered with coutour dogs and a giant cabbage in the whimsical Diggity, with a score by Donald York. Mr. Taylor shows how renewal of the spirit can follow a cataclysmic event in his magnum opus set to Bach, Promethean Fire.

March 27:
Mr. Taylor caused quite a stir in 1962 when he set the lyrical Aureole to baroque music -- by Handel -- rather than that of a contemporary composer. One of Shakespeare’s bitterest plays becomes an irresistible comic romp set to Ponchielli’s Dance of the Hours in Troilus and Cressida (reduced). Eventide, with music by Vaughan Williams, gently captures the many phases of a relationship. Doris Humphrey’s 1938 Passacaglia was inspired by the need for love, tolerance and nobility in a world given to the denial of these; its Bach score is performed live by organist Kent Tritle.

March 28 mat:
The fascinating aural montage in Cloven Kingdom ranges from baroque to modern music as Taylor reveals the animal nature lurking just beneath man’s sophisticated veneer. Last Look, set to a score by Donald York, provides a disturbing vision of another side of humanity. The ever-popular Arden Court, with its examination of different kinds of relationships, is propelled by baroque symphonies by Boyce.

March 28 eve:
In Shen Wei’s seminal Rite of Spring, set to a piano version of Stravinsky’s legendary score, dancers drift, tumble and soar across a geometric floor canvas, their collective physicality moving with the twists and turns of the music. Set to a buoyant score by Poulenc and with set and costumes by Alex Katz, Sea Lark depicts young friends enjoying an idyllic afternoon at the beach. Mr. Taylor shows how renewal of the spirit can follow a cataclysmic event in his magnum opus set to Bach, Promethean Fire.

March 29:
Sunset, set to music by Elgar, is a heart-wrenching look at soldiers and the girls they meet who mourn their passing, and inspired the New York Times to declare Taylor “one of the great war poets.” Set to a Martinu Cello Sonata, Death and the Damsel shares a young woman’s nightmares. The multi-layered, groundbreaking Esplanade – at turns lighthearted, poignant and deeply probing -- was acclaimed as “a classic of American dance” by The New Yorker upon its premiere 40 years ago; it is set to Bach violin concertos.

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