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Paul Taylor City Center


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Tickets are now on sale for this winter's Paul Taylor season at City Center.

You can save by purchasing tickets directly at the box office, 55th Street between 6th and 7th Avenues, or order conveniently by calling CityTix (212.581.1212) or clicking here. Tickets are $125 for Premium Seats (which include an invitation to relax in the Patrons Lounge at each intermission), $90 for Orchestra and Grand Tier, $75 for Orchestra and Grand Tier Balance, $55 for Mid-Mezzanine, $35 for Rear Mezzanine Front, and $15 for Rear Mezzanine Balance. Some $15 seats on the side are also available in other sections of the house. Performances are Tuesday through Thursday evenings at 7pm, Fridays and Saturdays at 8pm; Saturdays at 2pm; and Sundays at 3pm.

http://www.ptdc.org/cc_07.php

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Lots of news from Paul Taylor Dance Company:

We've made changes to the City Center schedule. On Gala Night, March 4, you can see both Dos Sueños and its sequel, the only time both works will be on the same program. To see the correct programs for City Center, please
; to purchase tickets, please
. For tickets to the Gala performance and dinner starting at $750, please call Kelly Moran, 212.431.5562.

New this season at City Center are pre-performance discussions prior to each Sunday matinee. These 45-minute talks are free, but you must have a ticket to the matinee to attend. On March 2 at 1:30pm, New York Post dance critic Clive Barnes will discuss the afternoon's program and more with Taylor Historian Dr. Angela Kane, Professor and Chair of the Department of Music, Theater & Dance at the University of Michigan. On March 9 at 1:30pm, Anna Kisselgoff, Chief Dance Critic, The New York Times, 1977-2005, will be interviewed by Suzanne Carbonneau, author of a forthcoming biography of Mr. Taylor. On March 16 at 1:30pm, the hugely entertaining musicologist Peter Schickele, also known as P.D.Q. Bach, will talk about the music to be heard that afternoon: the assemblage of music by Cowell, Corelli and Miller from Cloven Kingdom, the Bach violin concertos used in Esplanade, and music from seven centuries in Lines of Loss. These promise to be lively discussions -- we hope you'll attend.

To purchase tickets, click here.

Don't forget, the New York premiere of Dos Suenos takes place Saturday at the River-to-River Festival in Battery Park. 7:30 pm.

ALSO:

For a limited time, Paul Taylor Dance Company audience members can enjoFor a limited time, Paul Taylor Dance Company audience members can enjoy A Chorus Line for up to 50% OFF regular prices on select mezzanine seating for Tuesday through Thursday performances, through November 1*.

. . .

There are three easy ways to purchase: Visit
to book online and enter code DANCE42. To book by phone, call (212) 239-6200 and mention code DANCE42. . . .

* Terms/Conditions: Restrictions may apply. Select mezzanine seating - Tues-Thurs performances through November 1. Not valid on previously purchased tickets or in combination with any other offer. Tickets are non-refundable, non-exchangeable, subject to availability. A $1.50 facilities fee will be charged in addition to the price of each ticket. Tickets regularly priced at $110.00. Offer available for selected performances only and excludes seats in center orchestra. Offer may be revoked at any time.

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Sunday, March 2, 2008

Equinox, Fiends Angelical, Piazzolla Caldera

Equinox, a lyric 1983 dance for four couples to the Brahms String Quintet #1, opened this afternoon's program on a wistful note, as if the group of still young people were trying to comfort themselves by remembering their carefree past together. Yet the present somehow never quite allows them joy, and toward the end Lisa Viola seems finally to yield to that mysterious now. It is a solo of haunting mystery, she is so alone, but then the music and her friends attempt to lift her spirits, especially a joyful Parisa Khobdeh. When back in the group, Ms. Viola, still the look of lost, gradually seems to fill will the group's authentic friendship. While not reaching Ms. Khobdeh's happiness, by the dance's end Ms. Viola seems to have the inner strength to get through the unstated menace. Ms. Viola is the company's senior dancer. While I have no official information*, if you love this dancer I strongly urge that you see her this season. The couples: Lisa Viola, Robert Kleinendorst; Parisa Khobdeh, Orion Duckstein; and, a pair of pairs, Amy Young, Sean Mahoney, Julie Tice, James Samson.

The 2000 Fiends Angelical, to George Crumb's Black Angels, is new to me, so I read a number of press reviews from its debut season. They make no sense to me, as they refer to this as being about Africa. To me, India seems far more plausible. The foreward leaning backdrop has a mandala in its center: a circle with eight leaf-like spokes. Actually four pairs, alternating between a pair of "leaves" with tips coming together (suggesting hands in prayer), and a pair with tips flowing apart. The costumes and head dresses made it hard for me to i. d. the individual dancers, but my young dancer, who knows them--and her eyes are much sharper than mine, is sure that Annmaria Mazzini was the woman in the main pdd's and that Parisa Khobdeh played the priestess. During a particularly violent section, the outer ring of the mandala glowed in rich red light. The priestess, with a horned head dress, in particular seemed to make use of Eastern hand gestures, including the ominous Karana (I have also seen it called Tarjani) Mudra, in which the forefinger and the little finger are extended. The final pdd (after, according to old reviews, she and her partner have been returned to life by the priestess) brought to mind aspects of Bayadere, including Solor-like deep backbends. Michael Trusnovec (the partner?), Orion Duckstein, Amy Young, Julie Tice, Jeffrey Smith, Francisco Graciano and Laura Halzack completed the cast.

The program ended with the 1997 Piazzolla Caldera. Always an audience favorite. Lisa Viola and Annmaria Mazzini (the angry one with the wild spins) were standouts, and it was gratifying to see Michelle Fleet dancing full-out after being limited by injury last year.

In his Times review of Opening Night, Mr. Macaulay referred to all this season's music being recorded, while he remembered that 20 years ago the Company had a live orchestra. Does anyone recall when this change occurred? Today the last two pieces sounded fine, but the Brahms recording for the first really seemed lifeless. Sure an orchestra would be very costly, but I wonder if the company might not consider live music when all that is needed is, say, a quintet. As the Times critic argues, the subtle differences between live performances would be good for the dancers. And for the hearers too, even if just once in a while.

*Added 11:30 PM: Ms. Viola's retirement this summer appears official:

http://www.nysun.com/article/71805

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*Added 11:30 PM: Ms. Viola's retirement this summer appears official:

http://www.nysun.com/article/71805

I have seen Paul Taylor's Company on their San Francisco stop for five of the last six years. They are not coming this year, though, but hopefully will be back next year. I always looked forward to Ms. Viola and while happy for her am saddened that we won't see her again. I love her comedic side as in Troilus and Cressida (Reduced), but also her intensity in Promethean Fire and her playful side in A Field of Grass.

The Mezzanine was perhaps one quarter full; the orchestra looked to be about 75% full.

This is not good.

That's sad to hear....

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We atttended Thursday's opening night. A glorious program (Byzantium, De Suenos, Arden Court) gloriously danced.

The Mezzanine was perhaps one quarter full; the orchestra looked to be about 75% full.

This is not good.

And the vibe was kind of weird, too -- no sense of opening night buzz or enthusiasm. Granted the gala was a couple of nights later, but still ... there was a NY premiere on the program and the return of a genuinely intriguing work (Byzantium) after a too, too long absence. The audience finally woke up for Arden Court.

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...

I liked Byzantium a lot more than I remember liking it when it was new ...

I didn't see the opening night performance, but the Varese pieces were Integrales, Density 21.5, and Octandre. In 1986 Mr. Taylor rearranged the dance so that the original (1984) first section went to last, the second to first, and the third to middle. I wonder what the order is this season... You can still find the complete Anna Kisselgoff Times reviews for both versions by using Search at the NYTimes website, or, I'm sure, via Google.

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...

I liked Byzantium a lot more than I remember liking it when it was new ...

I didn't see the opening night performance, but the Varese pieces were Integrales, Density 21.5, and Octandre. In 1986 Mr. Taylor rearranged the dance so that the original (1984) first section went to last, the second to first, and the third to middle. I wonder what the order is this season... You can still find the complete Anna Kisselgoff Times reviews for both versions by using Search at the NYTimes website, or, I'm sure, via Google.

Many thanks!

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Lisa Viola's Farewell Performance

From this morning's company e-mail:

A wise person once remarked that all good things must pass. We note that this Sunday two very good things will pass. The 2008 City Center Season will come to a close, and Lisa Viola will give her final performance at the theater.

... Lisa will dance in all three works on Sunday's program: Cloven Kingdom, Lines of Loss, and Esplanade... With her incredibly speedy footwork and sparkling way with humor, Lisa has made her role in Esplanade all her own...

There will be a few tears on Sunday, to be sure. To bid Lisa farewell in her final appearance with the Paul Taylor Dance Company at City Center...

(numerous quotes from reviews omitted, since I do not know if it is permitted to include the complete letter)

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