JOANNA KOTZE
Nov 10, 2026
Paul Taylor’s 1988 Brandenburgs set a high bar for the GALA evening of the Paul Taylor Dance Company’s season at Lincoln Center. Bach’s gift of genius in Concertos 6 and 3, aligned with that of Taylor’s choreography, Santo Loquasto’s costumes, Jennifer Tipton’s lighting, the Orchestra of St. Luke’s conducted by David LaMarche, and the brilliance of this stunning company.
Five sections with different musical tempos from allegro, to adagio, supported constantly changing formations: darting lines of leaping dancers crossed diagonally, moved into swirling circular floor patterns, then interspersed with vibrant solos and duets. In the third movement, incessant runs, hops, leaps, turns, and flapping arms, filled the space with technical and athletic perfection. Gabrielle Barnes took center stage with assurance and Madelyn Ho, the smallest in size, performed a thrilling solo; her energy and spirit flowed big and boundless. This is Taylor’s choreography at its strongest; one of his classic, perfect works that imparted the gift of life.
Alwin Nikolais, another genius choreographer, created Tensile Involvement in 1954. Alberto Del Saz (former Nikolais dancer) re-staged this imaginative work crediting the music, lighting, set, and costumes to Nikolais. Known as one of the first groundbreaking artists of his time, Nikolais explored multimedia presentations.
Dancers clutching long elastic bands that hung from ceiling to floor, streaked and scurried from side to side, stretching their attachment to the band, redesigning the space in geometric forms. Nikolais’ exceptional lighting played with and reflected color onto the bands. Dancers manipulated them to encase themselves within rectangles, then squares, finally x’s creating body shapes that expanded and contracted inside the tensile shapes. Dressed in white unitards with red “ribcage-like” insignias on the bodices, they moved in and around these constantly changing linear and diagonal architectures. Again, Madelyn Ho was framed and featured, dancing a stunning, energetic solo. Nikolais’ work is as fresh and modern as ever, standing the test of time.
A Starling, (World Premiere)by resident choreographer Robert Battle, offered an interplay between dancers and set design by Anne Patterson. This time, ribbons hung ceiling to floor with dancers in front or behind. It was an interesting programming decision to place Battle’s premiere piece after Nikolais’ older work.
Starlings are known for their unique collective behavior. Research describes this as a “murmuration,” where a flock will stretch, fold, split, and rejoin in fluid waves with no leader. The piece opened with dancers clustered in still formation in 5th position plié, elbows bent, angled with hands and wrists flexed, resting on shoulders. They were dressed in green and blue unitards also by Anne Patterson. The ribbons dangled from above, rose and lowered in sections, simulating changes in the atmosphere as this flock constantly shifted formations and positions. While Graham and Taylor technique was referenced, moods explored anguish, joy, division, and with final closure, ended in stillness as it started.
Throughout this vivacious evening, three celebrities spoke separately before each dance, honoring visionary champions of the Paul Taylor Company. Theater director, JoAnne Akalaitis, spoke of lighting designer Jennifer Tipton’s ability to “create a blaze that shines on deep secrets.” Actor and. vocalist Bette Midler, praised costume designer Santo Loquasto: “He makes everyone look good.” And actor David Hyde Pierce, applauded James Roe, Executive Director of the Orchestra of St. Luke’s, for “sharing the dream of the gift of possibility.”
The Paul Taylor Dance Company shared the “gift of possibility” with us this night.
EYE ON THE ARTS, NY – Mary Seidman
*Cover Photo by Stutio AURA
WE WILL MOVE ON
