Press Room

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

Deborah Jones for The Australian

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

Tanglewood 2015: From Yo-Yo Ma with Emanuel Ax to Tony Bennett with Lady Gaga

Ray Kelly for Mass Live

Special events to take place at Ozawa Hall include the return of the Mark Morris Dance Group with a newly commissioned dance piece to Bach’s Brandenburg Concerto No. 1 on June 25-26 and Broadway great Audra McDonald in an evening of favorite show tunes, popular standards, and original pieces on July 19.

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.

Sunday November 02, 2014

Mark Morris dancers 'move' Taipei as part of US gov't program

CNA for The China Post

Dozens of Taiwanese people took part in an event Saturday in Taipei to dance with the New-York based Mark Morris Dance Group, as part of the U.S. Department of State's DanceMotion program to promote bilateral cultural exchanges.

Saturday November 01, 2014

Dance review: Mark Morris Dance Group

Jane Robinson for The Scotsman 

Does Mark Morris create the visual embodiment of our secret wish to move whenever we hear music, the extension of the discrete toe-tap? Is he using our eyes to give us new ears for music? Whatever the trick, it’s close to magic.

Saturday November 01, 2014

Renowned U.S. dance company 'moves' Taipei

Elaine Hou for Focus Taiwan 

"Today's activity is 'Everybody must dance,'" Mark Morris, founder of the U.S. modern dance company, told the local media on the sidelines of the activity titled "Let's Move Taipei." Accompanied by warm sunshine, dancers from the company guided local people of all ages to exercise, move their bodies and dance to music at the plaza of the National Theater. During the one-hour event, the dancers taught the participants to do a lot of swinging, hopping and other dance movements.

Thursday October 30, 2014

Review: Dance

Mary Brennan for Herald Scotland 

Time was, the Mark Morris Dance Group was a familiar sight in Scotland: a highlight in several Edinburgh International Festivals, a hot ticket during subsequent UK tours. It's not clear why that fell away. The company's last Scottish showing was in Edinburgh (2009) - this one-night-only in Aberdeen proved a bitter-sweet reminder of how much Morris and his group are missed.

Saturday October 25, 2014

Q&A: "When I create work, I look into the past"

Harriet Fitch Little for The Phnom Penh Post

In conversation with two choreographers: Sophiline Shapiro and Mark Morris
Mark Morris and Sophiline Shapiro are two of the most widely respected dance choreographers within their respective fields. The Mark Morris Dance Group is known in the US for its exuberant, inventive style, while Shapiro’s Khmer Arts has been a pioneering force in the re-invigoration of traditional Cambodian dance. On the last day of Morris’s two-week trip to the Kingdom, the choreographers joined forces to lead an afternoon of workshops at the Khmer Arts Theatre in Takhmao. Afterwards, they sat down together to talk.

Friday October 24, 2014

Sharing Culture through Dance

From The Ambassador's Penh - the official blog of William E. Todd, U.S. Ambassdor to Cambodia

Cambodia is known around the world for its enduring and rich dance traditions. As such, it should come as no surprise that Cambodia attracted the attention of Mark Morris, one of America’s finest and most accomplished choreographers. I am delighted that Mark and his dance company, the Mark Morris Dance Group (MMDG), traveled from New York City to Cambodia for a ten-day tour to collaborate with Cambodian dancers and musicians and to perform for Cambodian audiences. This trip was made possible through a special program called DanceMotion USASM, which is a joint initiative of the U.S. State Department and the Brooklyn Academy of Music and carried out with the support of the Embassy and our partner, Amrita Performing Arts.

Sunday October 19, 2014

Impressions of Fall for Dance at New York City Center- Program 1

Henning Rübsam for The Dance Enthusiast

Morris has been in the public eye since 1980, and many American critics, funders, and presenters have given him carte blanche since his auspicious outset by anointing him Master Choreographer. This has allowed Morris to continuously work on a scale that hardly any other living choreographer in the contemporary dance field has (and will) experience.

Saturday October 18, 2014

Dancers in town to trade moves

Chelsea Chapman for The Phnom Penh Post

These mesmerizing, animalistic dances were the result of a two-day workshop between the Mark Morris Dance Group (MMDG) and Amrita Performing Arts on October 15 and 16. Visiting Cambodia on a cultural exchange program run by USA Motion and Brooklyn Academy of Music, MMDG will collaborate with the Royal University of Fine Arts (RUFA), Amrita Performing Arts, Tiny Toones and Epic Arts, among others, during their 10 day tour.

Wednesday October 15, 2014

BWW Reviews: Fall for Dance 2014 - Program One

The Fall for Dance Festival at New York City Center has been a cultural staple for New York City for eleven years, giving audiences the opportunity to witness excellence found in the worldwide field of dance (and at an affodable price, too!). This year's festival opened up with four distinct works, including two NY premieres, one US premiere, and one world premiere by Mark Morris Dance Group, much to the delight of the audience.

Tuesday October 14, 2014

Turgid Talk-Backs and Wonderful "Words"

Robert Greskovic for The Wall Street Journal

Last week, a high point of the city’s busy schedule of October dance events was the Mark Morris Dance Group in a world premiere commissioned by Fall for Dance at City Center. Mr. Morris’s “Words,” set to 10 of Felix Mendelssohn’s “Songs Without Words,” capped a quadruple bill shared by three other groups. The 25-minute suite of dances—the only one on its bill presented with live music—dominated the program richly and decisively.

Thursday October 09, 2014

The Uncanny Charms of Naive Simplicity

Alastair Macaulay for The New York Times

Mark Morris' Words, a Premiere at Fall for Dance

Monday October 06, 2014

Excursions 2014 - Mark Morris Dance Group to Split Up for a Global Tour

Roslyn Sulcas for The New York Times

The Mark Morris Dance Group is simultaneously going west and east from mid-October through November, as for the first time in the company’s 34-year history, it splits into two groups. Half the troupe’s dancers will tour the United States, Scotland, Italy and Switzerland, while the remainder head for Cambodia, East Timor and Taiwan. On Nov. 11, the company will reunite in Shenzhen, China.

Monday August 11, 2014

A Day In the Country

Joan Acocella for The New Yorker

I think that one thing Mark Morris’s fans especially like about him, although they might not put it in these terms, is his scholarship. Oh yes, they’ve all heard about his musical erudition and seen the photos of him studying the score as he choreographs. But a matter less often spoken of is that Morris understands, and pumps new life into, old and presumably outdated artistic conventions.

Monday August 11, 2014

NYC Premiere of MMDG Acis and Galatea

Steven Raskauskas for Broadway World

The crown jewel of this year's Mostly Mozart Festival at Lincoln Center is Mark Morris Dance Group's new staging of ACIS AND GALATEA. The much-anticipated production, which had runs in Berkeley and Boston earlier this spring, made its New York premiere on Thursday evening.

Friday August 08, 2014

An Old Love Story, Tinkered for the Times

Alastair Macaulay for The New York Times

In his two-act staging of “Acis and Galatea” at the David H. Koch Theater, Mark Morris plunges his audience into the heart of the pastoral genre. He sets the love story of the shepherd Acis and the sea nymph Galatea within a landscape chorally filled with lovers.

Saturday July 26, 2014

Jacob's Pillow: Mark Morris Dance Group Musician in the Form of a Dancer

Leslie Kandell for The Birkshire Eagle

BECKET -- The recent dances Mark Morris has brought to Jacob’s Pillow reveal that he has outgrown his early reputation as the "bad boy of modern dance," and become a very good boy indeed.

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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