Mark Morris Dance Group

Mark Morris Dance Group

Choreographer Mark Morris uses diverse music to explore.

By Alix Cohen

The forty-fifth anniversary of Mark Morris Dance Group finds its founder and company at The Joyce Theater with two programs enhanced by live music and vocals, choreographed by Morris. I saw Program A. Though keen eyes find signature steps/gestures, the music-driven evening is diverse.

The Muir (2010) Music: Irish and Scottish folk songs. Libretto in the program will enrich.
Costumes- Elizabeth Kurtzman. Lighting- Nicole Pearce.

The central axis is formal here, often emulating 18th century dance. Lines manifest; couples are respectful, proper. Step, bend, reach, arabesque, turn… To this, Morris has added intermittent gestures reflecting lyrics. “I dearly love but one” provokes indicating # 1 with fingers. “Dressed in my best” finds dancers puffing out proud chests. One steps in front of another to usurp partnering Sally (“Sally in Our Alley”- Anonymous)

A profligate Jamie (“The Sweetest Lad was Jamie”- William Smyth) faces three women, hands on their hips. They glare. Jamie touches each cheek in turn. We can almost see the ladies sigh. All gravitate to him…until “Cease Your Funning” –Anonymous) triggers second thoughts.

Floor work and stylized running is contemporary. Morris dancers tend to gracefully fold their way down. Fluttering hands or feet is new and frankly a bit odd. Integration of folklore and modern is intriguing; music performance splendid. Why, one wonders, has the top of the piano been removed.

Men’s costumes are dull if apt. Women’s’ be-ribboned bodices look like cheap Renaissance Fair apparel.

You’ve Got To Be Modernistic (World Premiere) Music: James P. Johnson
Arrangements/Piano -Ethan Iverson
Costumes- Elizabeth Kurtzman; Lighting- Mike Faba

Expert stride pianist Ethan Iverson plays a succession of James P. Johnson tunes with flair. “It’s more swinging than ragtime, and faster,” he says. Faithful to most originals, the arranger veers with “Charleston” which arrives not in 4/4, but rather 4/5. Whether for this reason or Morris’s formulaic steps, the section emerges weak.

Otherwise, this world premiere is bright and sassy. Dancers form Conga-like lines, each rhythmically slapping the preceding derriere. Shoulders revolve, fists pump, torsos shimmy. Partners dance a modified Turkey Trot. Bees Knees hands cross and uncross. Arms swing, propelling jumps. Bodies literally shiver.

Frequent cartwheels erupt as if exuberance can’t be contained. Sailor hops on one leg- the other bent- are accompanied by classic hand-to-forehead or spyglass viewing. (Seafaring relationship is obscure) Arm over arm, leg over leg dancers move in twos and threes.

Extra long Charleston beads swing loosely around necks. The traditional kick forward-bend-back-touch-the-floor repeats. Rhythm propels circular kicks. Dancers shake hands.

Costumes are again dull and unflattering. A missed opportunity for pizzazz.

Silhouettes (1999) Music: Richard Cumming- Silhouettes- Five Pieces for Piano
Piano- Colin Fowler ; Lighting- Michael Chybowsky

This is a pas de deux. She wears a pajama top, he the bottoms. There’s much running, often with knees high. Step, point, step, point evokes ballet. Then, as if to refute precision, dancers bend forward at the waist limply dangling their arms. He moves, she shadows. One after the other, they spin across the stage, then wind down to the floor like collapsing slinkies. The piece would be appealingly playful if dancers looked at their partners establishing rapport.

Lighting is particularly artful, adding another dimension.

MosaIc and United (1993) Music: Henry Cowell
Costumes- Isaac Mizrahi. Lighting- Michael Chybowski.

Expressions are serious, movement sharp, then still and quivering. Dancers freeze in position. From the floor, one leg and one arm extend vertically. There’s a mechanical feel, action-reaction. Two dancers catch and hold a falling third by means of arms and thighs. Longlined cello and hummingbird violin create dissonance.

Arms bend as hands rest on either side of necks creating visual handles. A woman crawls to center stage. The company circles, leaning in and out. A single dancer observes. Flat hands push away. Run, walk, bend, kick…Two dancers catch a third as he goes limp. There’s little in unison. Intention is elusive. Though technically good, one only feels puzzled.

Costumes begin well with flowing silky shirts, then look discordant as these come on and off showing weathered camisoles.

A mixed bag by a choreographer unafraid to experiment. The evening is a bit too long.

Photos by Danica Paulos
Opening: You’ve Got To Be Modernistic

Mark Morris Dance Group
Artistic Director- Mark Morris
Music DIrector- Colin Fowler
Through Saturday July 26, 2025
The Joyce Theater 175 Eighth Avenue https://www.joyce.org/