Jacob’s Pillow, Becket, MA
Through July 28, 2019
by Karoun Charkoudian
Every Sunday afternoon at Jacob’s Pillow, aficionados have
the choice between two performances. This Sunday in late July, the Paul Taylor
Dance Company performed in the Ted Shawn Theatre. This was part of the Paul
Taylor Legacy Tour, in honor of his passing in August 2018. This tour includes
a performance of Taylor works from all phases of his career; one of his
earliest works, one of his latest works, and one of his greatest works.
The highlight of the afternoon was “Promethean Fire” (2002)
which is considered one of Taylor’s greatest works, the most evocative work of
the day. Dancers were clad in black against an all black stage wearing dramatic
unitards, women with an open back, showcasing musculature and lined with nude
chevron-style v-shaped stripes. As all 20 dancers twirled across the stage,
this striping created an additional element of movement and spin; the effect
was mesmerizing. Memorable moments were when the dancers literally laid on top
of each other, at one point aligning their bodies, and at another in an earthy
pile of human forms -- unity and connection more deeply portrayed than any words
possibly could. This, all set to Leopold Stokowski’s arrangement of Bach’s
“Toccata and Fugue in D minor.” Break taking, awe-inspiring, mesmerizing, it
felt like the entire dance took place in a heartbeat; one couldn’t tell that
time was passing.
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| Photo by Grace Kathryn Landefeld |
The other dances were not as memorable. “Aureole” (1962) mismatched Handel’s somber music with jubilant, upbeat movements. “Concertiana”
(2018) combined a graceful, almost jungle-like theme to Eric Ewazen’s intense
and fiery violin piece.
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| Photo by Christopher Duggan |
Next-door in the Doris Duke Theatre, Caleb Teigher & Co.
performed “More Forever.” Caleb Teigher began his professional career at
Jacob’s Pillow. He was an alumnus of the Dance School of Jacob’s Pillow. Live
piano music serenaded the audience with an energetic, jazz-like style in what
was perhaps the highlight of the performance. The piece itself was reminiscent
of a scene in Fred Astaire’s “Top Hat” (1935) when he dumps sand from a nearby ashtray on the floor, so that he can tap dance without the woman downstairs
hearing him. After being regaled by 10-minutes of a beautiful piano solo, the
audience then heard a confusing candy-wrapper-opening type sound. Next, the
performers came on stage with sand and began to sift the sand from their hands
to the floor. What followed was a tap-dancing performance that lacked unison.
However, between the engaging piano performance and the uniqueness of the
program itself, most of the audience enjoyed their afternoon.
