ADMIRABLE TAYLOR-MADE MODERN DANCE 
                                              By Paul Hertelendy 
        artssf.com, the independent observer of San Francisco Bay Area music and dance 
                                                                 Week of May 1-8, 2009
                                                                  Vol. 11, No. 97
          With its enviable fluidity, grace, and animation, the Paul Taylor Dance Company continues among the league leaders in modern dance, 55 years after  its founding by that  indestructible man for all choreographies, Taylor himself.
            Its unique vitality and versatility are emphasized by “Changes,” created just last year, shown in the opening-night repertoire April 29 at the Yerba Buena Center’s  Novellus Theater. It is part of a broad all-Taylor, three-program presentation, accompanied on this round by the crowd-pleasing “Esplanade” (1975) and the philosophical puzzler “Byzantium” (1984).
            The 16-member New York company was on top of its game at the opener. I was a bit relieved to see one dancer start to slip and fall, as if to prove that this troupe never falters in the minutest detail. The performers are youthful, curvilinear, agile and engaging; there are no stars, unless you single out Michelle Fleet, the upbeat black dancer who seems to light up the stage with joy (in “Esplanade”) just by dashing onto the scene.
            Let’s start with the arcane meat course: “Byzantium.” A totally chaotic scene of writhing pathetic bodies gives way to a beatific one, like a priceless Byzantine mosaic from Ravenna showing figures in gold and raiments. They appear to establish a society of regimentation, law and order, eventually producing a queen-figure who may or may not represent the sixth-century Empress Theodora (credited for converting the Monophysites and heretics to orthodox Christianity---either through persuasion, or "persuasion")  or the Virgin Mary.  
            Interpretations? Many. Perhaps an allegory of Good vs. Evil. Perhaps a critique of ecclesiastical powers suppressing freedom and individuality. Perhaps historical leaders of Byzantium establishing a society not entirely jelled until Theodora emerges. Or perhaps some of all three.Take your pick!
            The music featured jarring scores by Edgard Varèse.
            “Changes,” in a West Coast premiere, was a reprise of the hippie era 40+ years ago, a logical theme given protest against the Bush regime rampant till last November. It could have been a scene out of that oldie “Hair,” only without the nudity, full of headbands, colorful-rags attire, and young people jiving to a post-Beatles sound track.
            The ingratiating romp “Esplanade” needs no introduction. It’s  a sure-fire, fast-moving bravo-finale piece with a lot of running, sliding, diving, pivoting, plus attractive boy-girl pairisngs, with---sssssh!---a lot more ballet moves snuck in than you find at other modern-dance companies.
            Paul Taylor Dance Company, in three programs of all-Taylor choreography, through May 2. Novellus Theater, Yerba Buena Gardens, S.F. For info: (415) 398-6449, or go online.

        ©Paul Hertelendy 2009
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           Paul Hertelendy has been covering the dance and modern-music scene in the San Francisco Bay Area with relish -- and a certain amount of salsa -- for years.
    These critiques appearing weekly (or sometimes semi-weekly, but never weakly) will focus on dance and new musical creativity in performance, with forays into books (by authors of the region), theater and recordings by local artists as well.
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