The New York Observer

Who could have guessed that what Paul Taylor needed was a redhead? He recently found one (or she found him); her name is Heather McGinley, and she’s been blazing through the current season at the Koch—and not just because of her flamboyant hair. The Taylor Company has an astounding variety of talented leading women: Amy Young, who has grown at a steady pace into a dominating presence—lyrical, composed, radiant, except when she’s powerful, haunting and, in Big Bertha, malevolent, evil, grotesque; Parisa Khobdeh, ardent, exotic, exciting—and funny; Laura Halzack, beautiful, elegant, balletic, with a new forcefulness that makes her seem less of a lovely exception to the rule and more an exemplar of the rule; sassy, quick, daring Michelle Fleet … the list goes on. What McGinley gives us is a potential successor to the most thrilling of Taylor’s recent crop of stars, Annmaria Mazzini, whose reckless daring was sometimes nearly unbearable to watch. (Her hips eventually paid the price.) Watching McGinley in, say, Mazzini’s role in the wild rush of Syzygy was to feel that life as we know it may still go on. Read More

Every Paul Taylor season propels us forward while pulling us back. We can count on two new works, and we can count on at least one work from out of the past—not just the recent past, although certain signature pieces appear and reappear (Esplanade, Company B, Sunset, Le Sacre du Printemps: The Rehearsal), but the Read More