Paul Taylor Dance Company in London: musicality reigns supreme

Alex Clayton in Paul Taylor's Concertiana

Elizabeth Chapa in Paul Taylor's Concertiana

Lee Duveneck, Kenny Corrigan, Alex Clayton and Shawn Lesniak in Lauren Lovette's Echo

Madelyn Ho in Paul Taylor's Esplanade

Gabrielle Barnes and Alex Clayton in Paul Taylor's Esplanade

By Deborah Weiss, 29 January 2026

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“patterns emerged, moods changed, becoming more buoyant as the music dictated”

Reviewed at Royal Opera House: Linbury Theatre, London on 28 January 2026

Esplanade (Paul Taylor)

Echo (Lauren Lovette)

Concertiana (Paul Taylor)

Paul Taylor Dance Company

Zac Posen, Costume Designer

Paul Taylor Dance Company: exhilarating in new and legacy works

Daniel Pratt, 27th January

A welcome return to London by Paul Taylor Dance Company after more than two decades, this triple bill was worth the wait.

****1

The newest: gala night at Paul Taylor Dance in New York

Carla Escoda, 11th November

A letdown and a triumph at the Paul Taylor Dance gala this week, featuring new works by Lauren Lovette and Robert Battle, both resident choreographers, she in her 4th year, he in his 2nd.

****1

The extremes: Paul Taylor Dance at the Koch

Carla Escoda, 9th November

From disturbing to daffy: a searing indictment and a gentle parody, both from Paul Taylor, at Lincoln Center in New York, as his company continues to pack houses in its fall season.

***11

The crowd-pleasers: Paul Taylor Dance on fire in New York

Carla Escoda, 8th November

Company B and Esplanade bookended a popular mixed bill from Paul Taylor Dance Company in the first week of their ambitious fall season at New York's Lincoln Center.

****1

Paul Taylor Dance Company: Churchyard explores sacred and profane

Ivy Lin, 18th June

An interesting triple bill with some rarely seen Paul Taylor works carefully reconstructed. Esplanade still sends the audience home filled with joy.

****1

Pretty and beastly: Paul Taylor Dance Company at the Joyce Theater

Carla Escoda, 17th June

An intriguing reconstruction of an early work by Paul Taylor created on Pina Bausch and Dan Wagoner and a classic of barbed satire made a powerful triple bill by PTDC.

****1

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Deborah Weiss

Deb joined Bachtrack in 2022 and commissions reviews and writing on ballet and dance. She was Royal Ballet School-trained and is a former principal dancer for companies including London Festival Ballet (now English National Ballet) and Bayerisches Staatsballett. She has been writing for more than 30 years – publications have included Dancing Times, DanceTabs, Dance for You and Dance Europe. She also interviews for Voices of British Ballet, an oral archive of people who have worked in the industry in the UK. In addition to her writing, since 2016 she has been facilitating programmes that support victims of domestic abuse. Deb is passionate about her rescue dog, Bruce, and daughters (not in that order), swims a mile at least five days a week and is an avid reader.