Press Room

Sunday March 01, 2015

Mark Morris Dance Group's many surprises flow naturally at GMU

Philosophers and physicists can go on debating whether logic and unpredictability can coexist. Mark Morris has already answered the question... Morris' works unspool with airtight musical logic. His choreography follows the music in a rolling, running rhythm of phrasing and sudden punctuation, movements that fall somewhere between common activity and high stylization. It all feels utterly natural. Logical.

Thursday February 26, 2015

Mark Morris Dance Group continues to dazzle audiences at GMU

Perhaps no artist is greater at putting human bodies into stunning motion than famed dancer and choreographer Mark Morris.

Friday February 20, 2015

From Mark Morris, Seasonal Rituals Lusty and Solemn

Put together, the words “dance” and “spring” may conjure a mental image of barefoot people with flowers in their hair holding hands and skipping in circles. You can find such people in Mark Morris’s 2013 “Spring, Spring, Spring,” which will have its New York debut during his company’s season at the Brooklyn Academy of Music (April 22 through 26). What you won’t find is the ritual sacrifice from the original scenario for this work’s score, Stravinsky’s “The Rite of Spring.”

Tuesday February 17, 2015

Optimism and wit shine through in every movement of Mozart Dances

Mozart Dances reveals Mark Morris as the great magician of contemporary dance and its foremost optimist. In this seemingly carefree work he offers principles of profound beauty, not in a didactic way but with simplicity and grace.

Wednesday February 11, 2015

Memorable performance of mythic proportions

To mark its 50th anniversary, the Harriman-Jewell Series co-commissioned celebrated choreographer Mark Morris to reimagine Handel's "Acis and Galatea." The result was an epic old-meets-new production merging dance, opera, and art, presented to sold-out audiences over two nights in the Kauffman Center's Kauffman Theatre.

Monday February 09, 2015

Musical Marriage

Mark Morris is a household name among contemporary dance aficionados. A prolific choreographer, he established the Mark Morris Dance Group in 1980 and has created nearly 150 works for the New-York based company. Renowed for making dance that is popular with critics and the public alike, Morris' status is nothing short of legendary.

Saturday January 31, 2015

Mark Morris Dance Group creates a golden opportunity for Harriman-Jewell’s anniversary

What better way for the Harriman-Jewell Series to celebrate its 50th anniversary than with an opera-ballet with a story from the golden age of Latin literature?The Mark Morris Dance Group will perform George Frideric Handel’s “Acis and Galatea” on Friday and Saturday at the Kauffman Center.

Read more here:

Thursday January 29, 2015

On Film, the Dance Hidden in Hands, Poetry and Parkinson’s

It’s time for a new kind of dance film, one that forces you to see the art form differently, that even makes you breathe a little differently. This season’s Dance on Camera festival, now in its 43rd year, presents several unconventional offerings that aim spotlights at the choreographic rigor of hand-clapping games and competitive cheerleading or reveal how Parkinson’s patients can dance with hypnotic purity.

Wednesday January 28, 2015

Mark Morris Dance Group performs at Institute of Contemporary Art

In the intimate setting of the ICA’s black-box concert hall, Morris and his dancers conjured a world of enchantment.

Thursday January 22, 2015

Inventive Mark Morris dance troupe dazzles in Boston performance

by Iris Fanger for The Patriot Ledger 

The program of four Boston premieres is a reminder that Morris has lost none of his fervor for live music mixed with dance or his eclectic taste in finding composers to spur his creative choreography. Presented by a company of 17 elegant highly gifted performers, some of them new to local audiences, the evening passes in a luscious mix of joy in dancing and off-beat surprises - a gift to brighten our cold winter.

Thursday January 22, 2015

Mark Morris Dazzles with Dualities at the ICA

by Thea Singer for The Artery

Mark Morris has the uncanny ability to show us the darkness in light, the still point in a maelstrom (of traffic, of relationships), or, as Joan Acocella put it in her 1993 biography of him, "one noble, one ignoble, version of the same truth." He did so again last night, in a concert of four Boston premieres by the Mark Morris Dance Group and Music Ensemble presented in the intimate Barbara Lee Family Foundation Theater at the Institute of Contemporary Art.

Friday January 09, 2015

Annunciati i vincitori del Premio Danza&Danza 2014

MMDG's performances in Italy, part of Excursions 2014, named 2014 Best Contemporary Dance Show by Danza & Danza.

Monday January 05, 2015

Come, thou Fount: Choreographer and Star Team Create Dazzling New Vision of Handel

If you’re not sure whether Mark Morris’ Acis and Galatea is opera or dance or theater or what, then you’re probably on the right track. “That’s historically accurate,” said Mark recently on the phone, pointing out that in the Baroque “opera included all of those things: That’s the whole point.” The choreographer’s extravagant new production of Acis, Handel’s masterpiece drawn from Ovid’s Metamorphoses and performed here February 6th and 7th on the Harriman-Jewell Series, constitutes one of the most auspicious assemblages of talent that Kansas City has ever seen on a stage.

Thursday January 01, 2015

DCMetro Theater Arts Best of 2014: Dance by Carolyn Kelemen and Rick Westerkamp

Mark Morris will go to any length to prove his point of view, often with a hint of gender-bender choreography. At two performances this past year – one at his company’s Brooklyn Academy of Music, the other at second home George Mason University this past winter season – his acclaimed ensemble has been equally popular with dance aficionados, mainstream audiences, and critics alike. 

Sunday December 28, 2014

Wittiness, Pluck, and Rage: Pam Tanowitz and Trey McIntyre Project Among 2014’s Best

The lingering flavor of dance in 2014 is bittersweet. It wasn’t much of a year for budding voices or surprising developments. What stays brightest in my memory are mainly instances of established artists delivering more of what they were already known for, several of them for the last time.

Wednesday December 24, 2014

2014 in review: Bay Area dance world's strides, setbacks

High point: The resurgence of the duet as the most expressive and urgent of movement forms. Mark Morris’ “Jenn and Spencer” topped the list, but one also enjoyed memorable duets by Liam Scarlett (the second movement of “Hummingbird”), Crystal Pite, Nora Chipaumire, Alonzo King (virtually all of “Shostakovich”) and Kate Weare.

Thursday December 11, 2014

The Top Male Dance Performances of 2014

Many performances in 2014 took me where I had not gone before. Here I recall just 10 male dancers and the dates, in chronological order, when the scale of their achievement dawned on me. April 24 and 25, Berkeley, Calif.: Aaron Loux.

Monday November 17, 2014

Mark Morris Dance Group Tours China


An audience member once said, "with modern dance, you can never guess where the dancers are moving from one second to the next. Whether it's on stage or in the community, there're clearly no bounds for the Mark Morris Dance Group."

Saturday November 15, 2014

Mark Morris brings Mozart Dances to Perth

Everything about Mark Morris is big: his exuberant laugh, his passion for music, the uncensored chat and bawdy talk, his endlessly inquiring nature. He’s a stayer, too. The American choreographer started making dances when he was 13 (although he says he didn’t make his first good one until he was 15) and founded his own company at 24. He’s now 58 and Mark Morris Dance Group has not only survived, but is one of the world’s finest contemporary companies.

Thursday November 13, 2014

Fall for Dance 2014: A good year!

Charmaine Patricia Warren for Amsterdam News

One of the two closing companies is the Mark Morris Dance Group and Music Ensemble, and here, one is reminded of Morris’ skilled attention to music in the world premiere of “Words.” This Fall for Dance commission is fun, funny and mature. Do away with the unbecoming costumes but keep the continually changing movement and fastidious dancers.

Tuesday January 20, 2015

L'Allegro, Il Penseroso ed il Moderato on THIRTEEN's Great Performances

Mark Morris's signature work comes to television for the first time, hosted by Mikhail Baryshnikov.

Saturday December 28, 2013

ESSAY: Mark Morris' Dido and Aeneas by Dr. Sophia Preston

An essay by Sophia Preston

Just a few minutes into Mark Morris’s 1989 dance to Henry Purcell’s opera Dido and Aeneas it is clear that at least some of the movement “represents” the words of the libretto. Whether by looking apt (shaking hands in the air to “shake”), or through repetition (hands held out in an Indian dance mudra every time the word “fate” is heard), associations build up between gestures and words, creating a lexicon of gestural signs. This “re-presentation” of the libretto through gestures might be viewed as a redundant doubling of the words, but my contention is that, on the contrary, Morris exploits the transparency of this strategy to sophisticated and moving effect.

Friday January 27, 2012

Two Reasons the Patient is Still Kicking

Alastair Macaulay for The New York Times

Every so often someone declares ballet dead. The theater critic Kenneth Tynan even did so in the 1960s, a decade that many of us assume must have been a golden age. (The choreographer Frederick Ashton said, “It’s having the biggest funeral in history.”) In 2010 it was the turn of Jennifer Homans, the dance critic of The New Republic, in the epilogue of her ballet history, “Apollo’s Angels.” In 1993 — I’d better come clean — it was me.

Friday May 14, 2010

A Mark Morris dance you must not miss

Roger Downey for Crosscut Seattle
Sometimes it’s the fuel that creates the dance. Jerome Robbins’ strange melancholy masterwork "New York Export: Opus Jazz" (seen all over America in a new staging in late March on PBS’s Great Performances), was the work of a man recalling youth, idealizing youth, desperately evoking youth as it faded from him. But sometimes youth itself makes the dance, pours it out in full thoughtless flood. Such a work is "Gloria," created in 1981 on a part-time company of friends by a 25-year-old independent choreographer named Mark Morris.
"Gloria" is only one of three Morris works coming to Seattle’s Paramount Theater May 21-23; but it is the one which you must see, whether you are a dance fan, a baroque music buff, a theater maven, or simply a person who has sometimes felt moving in the soul the feeling expressed by Dylan Thomas’s immortally longing Polly Garter in Under Milk Wood: “Oh, isn’t life a terrible thing, thank God?”

Friday November 24, 1995

ESSAY: Roger Downey on Dido and Aeneas

All it took to condemn one of the greatest operas ever written to three centuries in shadows were a bare dozen words—“Perform'd at Mr. Josias Priest's Boarding-School at Chelsey. By Young Gentlewomen.”

And the worst of it? It wasn’t even true.

In fact Henry Purcell's Dido and Aeneas was probably written for performance before the King and Queen of England. But those words, at the head of the libretto published in 1689, have cast such a pall of dainty respectability, of amateur night shenanigans over the work that most listeners have neglected the evidence of their own ears. Dido has been mostly revived professionally when a mezzo-soprano combining musical insight with box-office clout—a Kirsten Flagstad, a Josephine Baker—has insisted on performing it. Paradoxically, Mark Morris's danced version of the piece has probably done more to establish Dido in the repertory than those artists did. 

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