Photo: Chris Taylor
Paul Taylor's Roses is called Roses because, well, because it is. There are no roses here, no flowery sentiment, no overwrought angst and emotion. This, one of Taylor’s most beautifully serene works, is the smell of roses on a still May evening: fleeting, evanescent and heart-breakingly beautiful. It is also some of the most magisterial - and startlingly original - choreography, even a quarter of a century after it was first made.