Trippy Territory

One never knows where Paul Taylor’s inquisitive imagination will lead him next. For the two related premieres his company will unveil this season, the master choreographer has headed to Mexico, specifically to the Day of the Dead and other cultural touchstones of Mexican and Mesoamerican tradition. According to Patrick Corbin, the former leading company member who was the choreographer’s assistant in the studio while he created De Sueños (Of Dreams) and De Sueños que se Repiten (Of Recurring Dreams), these latest works venture into “trippy” territory.

“He wanted it to be very surreal. You know how things don’t make sense in dreams? I think the non-sequitur dreamy aspect of it is a departure for him, especially as of late,” explains Corbin. “It’s not literal. It’s spooky and scary at points… He usually likes to sew up loose ends, and for there to be rhyme and reason for certain couples to be together at certain times on stage. Here, there are aspects of relationships that he allowed to disintegrate. Since it’s a dream, he let those things go, and let images drift in and out and left things hanging in the air.”

Taylor was initially led into this territory by the Kronos Quartet’s 2002 recording Nuevo, which focused on Mexican composers, musicals traditions and influences. After completing De Sueños, which had its premiere last July, he found further inspiration in the disc’s other selections and made the second work. “There was so much wonderful music that he wanted to go on with it,” Corbin recalls. Though they are companion pieces, each dance can be seen on its own. (On March 4, they will be performed in sequence on the company’s gala program.) Corbin describes the combined effect as “a journey through time fast-forwarded,” and advises to “come in with an open mind.”

The company’s annual City Center season is always a highlight of the dance calendar, and for this one Taylor has brought back several of his most fascinating, less frequently seen works. Both Equinox, set to Brahms, and Byzantium, have not been seen in over 20 years—long enough that Corbin, whose illustrious tenure with the company lasted from 1989 to 2005, never had a chance to perform in them. Also returning is the fascinating Counterswarm, a furious confrontation between two insect-like clans. For those who love Taylor’s more antic, playful side, Diggity, performed on a stage populated by dog cutouts, is back after a long absence. Taylor’s profound affinity for Bach can be experienced in three contrasting but equally brilliant dances: Promethean Fire, A Musical Offering and the evergreen favorite, Esplanade.

The repertory’s range is broad and audacious, and one has to remind oneself that all these diverse dances are the work of one choreographer. Taylor is peerless in the sheer variety and ingenuity of his invention, and his art continues to capture many revealing aspects of our humanity.

Feb. 28-Mar. 16, City Center, 131 W. 55 St. (betw. 6th & 7th Aves.), 212-581-1212; Tues.-Thur. 7; Fri. 8; Sat. 2 & 8; Sun. 3, $15-$125.