★★★★★ It’s difficult to think of a better way to bid farewell to a New York summer than with Lincoln Center’s “Mostly Mozart” festival, and seeing Mark Morris Dance Group performing Mozart Dances was the icing on the cake.
Tag - Mark Morris Dance Group
★★★✰✰ Every few years the Mark Morris Dance Group presents an evening of dances at the company’s Brooklyn headquarters, a nondescript brick building across from BAM...
As with the Balanchine version, the Hard Nut’s success is a foregone conclusion.
Last month English National Ballet and Roehampton University held an event at London's Sadler's Wells to talk about their joint work on helping those with Parkinson’s disease: "Dance for Parkinson's Evidence of Impact - Moving Forward". Jann Parry reports for DanceTabs...
Heginbotham has a knack for choosing just the right music for his dances, none of it hackneyed or used solely for its atmospheric qualities: no Arvo Pärt, no Philip Glass...
Morris seems particularly interested in deploying turning and spinning movements these days; turns appear again and again in different forms in many of the new works, especially fast chaînés or dizzying rotations in one spot.
As always, it's a pleasure to see the Joffrey Ballet, especially since 2007 when artistic director Ashley Wheater assumed his post and began a terrific revival of the company...
New York City Center's Fall For Dance Festival opened its 11th season with a very fresh program...
As he has shown again and again, the choreographer Mark Morris has a way with Baroque music. He clearly adores it...
The evening offered a sampler of Morris’s newly-minted works (A Wooden Tree, Jenn and Spencer and Crosswalk, all made in 2012-13) and his splendid Italian Concerto from 2007.
Lynette Halewood with her personal selection of London dance memories this last year...
Who knew that Beethoven composed his own cover version of ‘Sally in our Alley’? Mark Morris, obviously: the (English) song is the centrepiece of The Muir...
In this programme we got some shiny new toys, maybe quirkier than we imagined, but some definitely to keep and treasure.
L’Allegro, with its painterly tableaux, classical references, and unselfconscious evocations of sex and death, feels both ancient - almost pagan - and perfectly of our time...
Dance Heginbotham premieres a new full evening work, Dark Theater, later this month at the Brooklyn Academy of Music - Marina Harss talks to choreographer John Heginbotham about his latest work...
The festival elects a guest director each year; Morris is the first choreographer to get the job. The seemingly ubiquitous Morris has now taken to calling the current season “my festival”; he’s only half kidding...
I always enjoy The Hard Nut even though there isn’t a lot of choreography.
What was curious about A Wooden Tree is that it did not include much dancing in the traditional sense. It was as if Morris had decided to do an experiment: to make a dance with as little dancing as possible, practically a pantomime.
It is something of a cliché to say it, but the guiding principle of Morris’s Dido - as in the more recent Socrates - is simplicity. No single element - musc, words, dance - is privileged above the others.
It’s hard to top Morris’s dancers for spontaneity, dramatic force, and exhilarating energy. On opening night, the dancing was nothing less than brilliant: From the opening “Mad Crossing” to the concluding “Finale,” the cast commanded the stage, dancing with sheer joy and élan, compelling the audience at the end of the performance into a thunderous standing ovation.