Sunday March 01, 2015
Thursday February 26, 2015
Friday February 20, 2015
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
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
Monday February 09, 2015
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
Thursday January 29, 2015
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
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
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
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
Monday January 05, 2015
Thursday January 01, 2015
Sunday December 28, 2014
Wednesday December 24, 2014
Thursday December 11, 2014
Monday November 17, 2014
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
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
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
Saturday December 28, 2013
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
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
"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
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.