Mature dance companies that mark their 45th anniversary are not common, with the world premiere of its founder, which was the highlight of the celebration. Say that You have to be modernist Stealing the show at the current show at the Joyce Theatre on Mark Morris Dance Group is a bold statement because other works in Plan A –Muir (2010), contour (1999) and Mosaic and Manchester United (1993) – Morris Classic. But let me tell you why.
Let’s start with this word in the title: “Modernism”, a subtle but revealing choice. This is not only a modernist or even a modernist. Modernism means not only the present, but also innovation, experimentation and architectural design. The title overall is a bit out of the way, while a little off the killer is a theme woven at work, most notably “Charleston” played 5/4 times instead of 4/4 times, which makes the familiar songs make the familiar songs a satisfyingly odd incline.
But I have to be ahead of myself. You have to be modernist The music of the famous Charleston composer James P. Johnson is arranged and performed. Iverson, the former music director of MMDG and now a regular collaboration, has been a long-time admirer of the “Father of Stride’s Piano.” Johnson’s work (not written yet; Iverson had to transcribe them by listening to old records) is between Ragg time and jazz, which is where some incredible music is produced in between. Score and Iverson’s performance are half joy You have to be modernist.
Another joy is the outfit designed by Elizabeth Kurtzman – clever pants, with satin sheen and loose tops, all wearing soft and unusual palettes of rose gold, brown and blue. The fabric glows when Nicole Pearce’s lighting design pops up, and as seven dancers gather together, they swing their long pearl necklaces into the swaying rhythm.
This brings us into the movement. Mark Morris is a genius who delves into the score and brings it to life (already known to his loyal audience), but this time, the choreography has much more to do. It visualizes the emotions of music while simultaneously presenting cultural significance, rather than anthropology.
We immediately see Charleston, though not in its usual form: the hand holds hands and elbows, and the dancer’s swing arm appears to be aiming at the baseball. Typical 1920s dances appear again and again throughout the work, deconstructed and always somewhat different. If you know what to look for, other dances from that period will also appear – black bottoms, bee knees, camels walking – but these jazz-era staples were always seen as through funhouse mirrors, twists and stupidity. I find myself giggling, and I don’t giggle often when I look at modern dances. I want to jump on the stage and join in the fun. I wanted to wear those pants, do those loose footsteps, light movements (actually, I might have gone home, and later that night I tried a few in the darkness alone.
Once, the actor swiveled his necklace around his neck like a hula hoop. One dancer, Billy Smith, is particularly talented in this technique, while others keep spinning him. It’s not easy (I also tried moving at home, but it wasn’t going well.)
When a group of dancers walked forward in unison, arms on each other’s shoulders – happened a few times, another outdoor moment happened. It’s normal enough, except that they’re not all stepping on the same foot, and the cracks in form make some right and some left start to have a profound impact on me. In the body I look at, it fascinates me. Another way Morris plays with us.
although You have to be modernist It’s my favorite, and the other works on the program are also powerful. Muir It is an optimistic, witty opening player, including six dancers in Renaissance costumes (also designed by Kurtzman), set to a collection of Irish and Scottish folk songs arranged by Ludwig Van Beethoven and played live by MMDG Music Ensemble. Three couples declare their love, break their hearts and swap partners, not always in that order. Women’s hands swaying on their hips. They shake their fingers. These people lifted them up and rotated them. It seemed like a fun melodrama, but then things got worse and collapsed, and one wondered who or what was pulling the strings.
In the duet contourAaron Loux (wearing the bottom of his pajamas, while his partner Christina Sahaida wears the top of his match) excels at the ideal Morris dancer. His lower body was clean and his steps were precise, while his upper body was loose and elegant. Perhaps most importantly, he is very interesting.
Mosaic and Manchester UnitedClose the program, perhaps the most challenging of these four works. It mimics the ever-changing tone of Henry Cowell’s string music and also plays live. Sometimes the exercise is creepy (female crawling, very slow, on stage like a cat), and sometimes postmodern (arms with sharp tick feet like metronomes). This is the vagueest and most troubled work.
When I left the opening performance (but before trying the necklace trick), I considered the choice of Morris’ work from 1993 to the present day. His recent work seems to have been stripped of any darkness, any narrative, any pretense. You have to be modernistalthough its title also traces back to the basics of dance: music, movement and joy.
Program A is By July 19 at the Joyce Theater. Plan B, premiering worldwide northwest beside Ten suggestions (1981), argument (1999) and Leave the party (1990) will be held from July 22 to 26.
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