By Susan Reiter

Dancers are known for their incredibly skillful bodies and feats of physical prowess—political commentary is usually best left to the wonks.

For his performances at City Center this month, Paul Taylor revives an early satirical work that raised some eyebrows in the ’60s. First performed in 1965, “From Sea to Shining Sea” is a mock-pageant that takes a witty, irreverent look at American history and our national mythology. Ever the sly one, Taylor’s timing of this revival should tie in deftly with current national issues, such as the questioning of what constitutes patriotism.

This sophisticated modern-dance troupe will be at City Center for three weeks, performing repertory that offers an extremely generous and fascinating glimpse into Taylor’s wide-ranging, unpredictable creativity. 

Of the 18 works on the schedule, only two—“Esplanade,” choreographed in 1975, and “Promethean Fire,” from 2002—are returning from last season, and both are exceptional masterworks. Along with the chance to rediscover and re-evaluate earlier works, the season includes two premieres: “Spring Rounds,” set to a Richard Strauss arrangement of music by Couperin, may fall into the more lyrical, romantic division of Taylor’s output. But “Banquet of Vultures,” scored by contemporary American composer Morton Feldman, has been described as “a chilling meditation on war and death.” This type of contrast is quintessential Taylor. 

The dancers are among the bravest and most glorious around, and the choreography can plumb the depths one moment, scale the heights the next. Now it’s just up to you to sit there and figure it all out.

March 1-19
City Center, 131 W. 55th St. (betw. 6th & 7th Aves.), 212-581-1212; Tues.-Sun. $15-$80. Call for showtimes.