Last night my wife and I ventured out in the cold to the Kennedy Center to see the Paul Taylor Dance Company, one of our favorites that we saw several times during our sojourn in New York City between late 2017 and late 2020. They never disappoint. I believe their performances tend more toward balletic movement than, for example, those of Alvin Ailey but I have no expertise in this – I just know what I like.

We were a bit concerned about what me would find in the wake of Donald Trump’s mind-boggling and culture-destroying decision to assume management of the Center. Everything seemed normal until we entered the great hall that leads to the performance auditoriums. Arrayed in the center of the hall, at both ends, were four airport-style magnetometers with “guards” in uniforms to check bags, including placing cell phones and keys in trays for separate examination.

It was a bit unnerving and I, having a big mouth (lies, all lies) asked one of the guards whether this was the product of Trump’s “leadership.” She responded testily that it was to “protect the performers,” a statement that made no sense until we realized that the China-based Shen Yun was performing in the Opera House adjacent to our show in the Eisenhower Theater. Much of the large crowd milling around was apparently there to see Shen Yun who we then assumed was responsible for the security.

Once through that minor but irritating inconvenience we joined what seemed a sell-out crowd for the Paul Taylor performance. The program explained it this way:

The Paul Taylor Dance Company makes a triumphant return to the Kennedy Center as the company commemorates 70 years of extraordinary dance. Paul Taylor emerged as a cutting-edge choreographer in the 1950s. Over six decades, he crafted 147 company works that provoke social issues and spotlight theatrical modern dance. Taylor’s astonishing legacy continues today under the leadership of Michael Novak, a company member appointed to the role of Artistic Director by Taylor before his passing in 2018.

The company ushers in a new era with the world premiere of How Love Sounds by Hope Boykin (Artistic Advisor for Dance Education at the Kennedy Center). Nine dancers perform boundary-pushing movement, all set to Boykin’s favorite songs that “sound like love.” You’ll hear the joyful timbre of Stevie Wonder, the shimmering pulse of Donna Summer, the heartbroken twang of Patsy Cline, and even the stirring music of Antonín Dvořák. Commissioned by the Kennedy Center, the work was developed as part of the Social Impact Office Hours residency program.

The Paul Taylor Dance Company will also perform two classics by Paul Taylor. In Arden Court, dancers move playfully in a romantic scene inspired by Shakespeare, performing to symphonic excerpts by baroque composer William Boyce. Celebrating its 50th anniversary in 2025, Esplanade transforms the idea of pedestrian movement into a riveting performance, set to music by Johann Sebastian Bach.

As we expected, the performances were stunning, defying our understanding of human stamina in the presence of extraordinary, coordinated movements. We could not help but wonder what kind of humans these were that could keep up that pace for so long without a slip or falter at any point.

I am posting this mainly for two reasons, first to express our gratitude that, notwithstanding the surprise of facing the security gauntlet inside, the rest of the experience was what we have always had at the Kennedy Center. So far, at least, Trump has not managed to ruin it.

The other reason is to thank the Paul Taylor Dance Company for not canceling. We would have understood if they had, but our lives are all the richer for having spent some time in their presence. Their gifts are beyond what words can convey. The work they put in to do what they do is superhuman and a true joy to watch.