Rudolf Nureyev. Courtesy Spotlight Cinema Networks.
What's better than one film about Rudolf Nureyev? Two films about Rudolf Nureyev!
We're excited to share that a feature-length documentary titled Nureyevis slated to make its North American premiere next month. Nureyev will be shown in major U.S. cities starting April 19, giving you just enough time time to brush up on your Nureyev history before the Ralph Fiennes directed biopic, The White Crow, hits U.S. theaters on April 26.
Michael Trusnovec models what it takes to become a great Paul Taylor dancer. Photo courtesy NYC Dance Project
Paul Taylor cultivated many brilliant dancers during his 60-plus-year career, but seldom have any commanded such a place of authority and artistry as Michael Trusnovec. He models what it takes to become a great Taylor dancer: weight of movement, thorough grasp of style, deep concentration, steadfast partnering, complete dedication to the choreography and a nuanced response to the music.
Trusnovec can simultaneously make choreography sexy and enlightened, and he can do it within one phrase of movement. Refusing to be pigeonholed, he has excelled in roles as diverse as the tormented and tormenting preacher in Speaking in Tongues; the lyrical central figure—one of Taylor's own sacred roles—in Aureole; the dogged detective in Le Sacre du Printemps (The Rehearsal); and the corporate devil in Banquet of Vultures.
Paul Taylor choreographed a solo for Alex Clayton in his March 2018 world premiere, Concertiana. Photo by Paul B. Goode, Courtesy Paul Taylor American Modern Dance.
Usually, it takes new recruits a few seasons to make their mark at the Paul Taylor Dance Company. But Taylor wasted no time in honing in on the talents of Alex Clayton. Only a few months afterClayton joined in June 2017, Taylor created an exciting solo for him in his new Concertiana, filled with explosive leaps and quick footwork. Clayton was also featured in new works by Doug Varone and Bryan Arias. At 5' 6" he may be compact, but onstage he fills the space with a thrilling sense of attack.
Paul Taylor flying high in 1957. Photo by Radford Bascome, Courtesy DM Archives
The news of Paul Taylor's death two weeks ago at the age of 88 has sparked innumerable tributes to the choreographer. We were inspired to delve into Dance Magazine's extensive photo archives to see what images of the late modern dance titan were hiding there. We present a baker's dozen of our favorites from over the years.
Taylor with PTAMD dancers Annmaria Mazzini and Michael Trusnovec. Photo by Richard Calmes
A person's walk is like a fingerprint, according to four Paul Taylor dancers who are stepping on without their beloved choreographer. Taylor died August 29, passing the legacy of Paul Taylor American Modern Dance to Michael Novak, the second artistic director in the company's history.
"Human movement never lies," says Novak, who sometimes slipped into present tense when describing his mentor. "For auditions, Paul makes dancers walk across the floor in rhythm. The first time I auditioned, I didn't get the job. I was terrified, but now that I'm on the other side of the audition process, 'the walk' is telling."
"When you're doing the walk, it's nerve-racking and hard to know the value," explains Eran Bugge, who recently celebrated her 13th anniversary with the company. "Now I know that it's totally revealing. You can see a person's control to be human and dancerly at the same time. Sometimes you can see weird coordinations, but Paul liked that."
Michael Novak, here with Eran Bugge in Paul Taylor's Promethean Fire, was named artistic director designate by Taylor in May. Photo by Paul B. Goode, Courtesy PTAMD
A quiet power has marked Michael Novak's dancing since he joined the Paul Taylor Dance Company in 2010. Long a critics' favorite, he has gracefully shared the spotlight with higher-profile performers, contributing steady excellence to works from Gossamer Gallants to the iconic Esplanade. But no one was more surprised than Novak when Taylor tapped him to be artistic director designate. Novak, 35, will oversee every component of the Paul Taylor enterprise, from the Paul Taylor American Modern Dance initiative to the school. But most critically, he will direct the Paul Taylor Dance Company, which may be his toughest role yet—one he has already begun training for.
We spoke to Novak earlier this summer, before the announcement of Novak's new role turned out to be portentous: Taylor passed away this week.
Yesterday, modern dance giant Paul Taylor passed away. He had turned 88 at the end of July.
Considered the last of the 20th-century modern dance titans, Taylor celebrated the 60th anniversary of his company in 2014. A prolific dancemaker, he continued to make new works into his final year, the last of which premiered during the company's annual Lincoln Center season in March—his 147th. Aureole, Cloven Kingdom and Promethean Fire are among his iconic works, though perhaps none is so beloved as his 1975 masterpiece Esplanade. During his performing career, Taylor danced roles created for him by Martha Graham, Merce Cunningham and George Balanchine, as well as in his own work.
James Samson in Three Dubious Memories. Photo by Paul B. Goode, courtesy Paul Taylor Dance Company
For 17 years, James Samson has been the model Paul Taylor dancer. There is something fundamentally decent about his stage persona. He's a tall dancer—six feet—but never imposes himself. He's muscular, but gentle. And when he moves, it is his humanity that shines through, even more than his technique.
But all dancing careers come to an end, and James Samson's is no exception; now 43, he'll be retiring in August, after a final performance at the Teatro Romano in Verona, where he'll be dancing in Cloven Kingdom, Piazzolla Caldera and Promethean Fire.
"I look forward to working with him to continue my vision," Paul Taylor says of his successor, Michael Novak. Photos by Bill Wadman, Courtesy PTAMD; Jayme Thornton
It's been a long time coming. Paul Taylor, who at 87 is still actively making dances, has named the person who will succeed him at the head of the various organizations that bear his name: Paul Taylor Dance Company member Michael Novak.
The announcement has come with no small amount of surprise, as longtime PTDC dancer Michael Trusnovec has long been considered the heir apparent. But, as was announced today, Taylor has appointed 35-year-old Novak as artistic director designate, effective July 1. As Taylor told The New York Times, "I thought he was just next in line. I've watched him for some time. He pays attention, and I know that he's listening."
Paul Taylor Dance Company in Changes. Photo by Paul B. Goode, Courtesy PTAMD.
Willkommen to the night of your dreams: First you're transfixed by a performance at Lincoln Center's opulent Koch Theater. Then you're sipping wine with the ridiculously famous Alan Cumming. Later, he whisks you away to his exclusive East Village club, where you party late into the night.
While these scenarios sound like the makings of a wild dream, they're very real. This Thursday, March 15, you and up to 19 others could join Cumming for the ultimate night out, framed around Paul Taylor American Modern Dance's spring season. (Yes, your host is actually the Tony, Olivier and Emmy award-winning performer, Alan Cumming, who starred in a little show called Cabaret. Perhaps you've heard of it?)
Sara Mearns in Isadora Duncan's Narcissus. Photo by Darial Sneed, Courtesy PTAMD
One of New York City Ballet's most adventurous ballerinas will be a special guest of Paul Taylor American Modern Dance for its annual season at the Koch Theater. Sara Mearns is performing solos created by early modern dance icon Isadora Duncan as staged by Lori Belilove. Also on the menu: Paul Taylor Dance Company members in 13 classic Taylor works and world premieres from Doug Varone, Bryan Arias and Mr. Taylor himself (his 147th!), plus the resurgent Trisha Brown Dance Company in her iconic Set and Reset. March 7–25. ptamd.org.
Paul Taylor choreographing To Make Crops Grow on Parisa Khobdeh. Photo by Whitney Browne, courtesy PTDC
I was 22, fresh out of school. Wet behind the ears, I was using a light boom backstage as a warm-up barre before my debut performance with the Paul Taylor Dance Company. I noticed Paul Taylor walking toward me, wagging his index finger like a disciplining father, and I shrank with fear.
"Don't touch the booms. Someone has worked very hard to focus those lights," he admonished. And just before he turned to go, he paused and added, "And listen to your seniors." But he wasn't done. As he strode away, he turned back and said, "Oh, and always say thank you to the crew."
What struck me about Paul's notes—and what has stayed with me ever since—is what was at the heart of those three directives: respect, gratitude and the importance of family. They are values that are embedded in his dances and in his company.
Laura Halzack shows off her elegance and fire in costume for ...Byzantium. Photo by Jayme Thornton
When Paul Taylor created Beloved Renegade on Laura Halzack in 2008, he gave unequivocal instructions. She was the figure, sometimes referred to as the angel of death, who circles dancer Michael Trusnovec in a compassionate, yet emphatic way.
"He choreographed every single step for me," she says. "He showed it to me—do this développé, reach here, turn here, a very specific idea," she says. His guidance was that she be cool and sweet. Then, she says, "he just let me become her. That's where I really earned Paul's trust."
Photo by Jessica Zollman (@jayzombie) via #CamerasandDancers
If you're like us, your Instagram feed is probably oversaturated with gorgeous dance shots of your favorite performers. (Not complaining!) But search for "#CamerasandDancers," and you'll find dance photography that stands out from the crowd.
#CamerasandDancers in Washington Square Park, PC Dave Krugman (@davekrugman)
It's well known that Robert Rauschenberg, one of the most famous American artists of the 20th century, made costumes and sets for Merce Cunningham, Paul Taylor and Trisha Brown. What you may not know is that he also choreographed and danced in many performances of his own devising. You can see evidence of them among the vast amount of paintings, sculptures and collages at the exhibit at the Museum of Modern Art called Robert Rauschenberg: Among Friends.