Pepperland serves up the expected tie-dye nostalgia, keyed to a half-dozen Beatle tunes from the classic album.
Now 58, the noted choreographer’s succinct gestural language, coincident use of music and musical ideas, and spatial elasticity is now completely second nature.
Mark Morris’ choreography for his 18-member ensemble alternates between joyful ring-around-the-rosy and contra dance circles.
This is the first of a series of occasional essays where Fuse Dance Critic Debra Cash will reflect on dances made for camera and new technologies. As they used to say, don’t touch that dial!
Mark Morris, no longer dancing, joined his company for the curtain call. He’s beloved here, a part of the contemporary dance scene in Boston over the decades as a performer, a choreographer for the Boston Ballet, a teacher, and an inspiration to a number of local performers.
A Mark Morris world premiere is turning the attention of the national press to the state of the Boston Ballet Company under new director Mikko Nissinen. By Debra Cash Choreographer Mark Morris once said something to the effect that after George Balanchine died, people started to believe that every work Balanchine had ever choreographed was […]