Representing Taylor's rosy side, on the Saturday program, is Arden Court (1981), a classic Baroque showcase for the company, especially Taylor's male dancers, that swoons with life-affirming energy. On the Friday bill, Eventide (1997) evokes a twilight country stroll, as five couples amble in simple patterns to a score by Ralph Vaughan Williams and part in the end. Nothing fancy the feeling is paramount.
Each evening's closing piece falls in Taylor's "dark" column. Promethean Fire (2002) has been broadly read as a response to the September 11 terrorist attacks, although Taylor remains coy, instead citing Disney's Fantasia as the inspiration. No matter. The piece courses with Taylor's signature humanism dancers reach and collapse in grand thematic patterns before a winged apotheosis.
In Le Sacre du Printemps (The Rehearsal) (1980), two parallel narratives a dance rehearsal and a detective story set in Chinatown mirror the jazzy Stravinsky arrangement for two pianos. Characters sneak and spring in a spiky two-dimensional universe, like a Pink Panther cartoon or Egyptian hieroglyphs. How Taylor sews it all together is a feat of immense choreographic sophistication.