Morris-Schumann: A Winning Pair
BERKELEY—Was it Santa Claus arrived early? A closer look revealed it was actually choreographer Mark Morris with the big bushy beard in a new role: Singer, accompanying his light entertainments up on the dance stage. Over the years, with his Dance Group he has carried out at least four roles, previously as dancer and actor as well. The next time he turns up here, he might well be lighting designer, usher, tour-bus driver, phys-therapist and chancellor too if he has his way.
His “light entertainments” were jolly, upbeat dances clearly programmed to counter the blue moods of two years’ pandemic and absence. His dance group’s second half however shifted to one of his superlative choreographies of the past, the 20-year-old “V”, set to Schumann’s memorable Piano Quintet Op. 44. It was an astute choice, played live by the pit’s chamber ensemble. There his 14 dancers flow like the ocean swells, leaping light-footedly, making and dissolving letter-perfect formations in the blink of an eye.
I was transfixed by the moves in the enigmatic slow movement, with dragging music progressing by fits and starts in the bass register. All the performers crawl on all fours, and one by one stand and walk calmly away, as if this were an allegorical reenactment of human life emerging from the animals on Earth, all reconceived here by a brilliant mind. Helping the process is Morris’ faculty at reading scores, producing neatly matched moves on stage by the nimble, light-footed dancers leaving many a viewer in awe. Of all the Morris creations that have played out here annually on tour for most of its 41 years, this piece from 2001 lingers indelibly in memory.
The rest of the entertainments, not so much, yet they were no less timely. Though danced barefoot, “Water” is essentially a deft ballet, a fun work dotted with humor. “Jenn and Spencer” was a duo for a rather acrobatic couple, dominated by the woman (Karlie Budge) in a floor-length filmy dress.
“Dancing Honeymoon” was a nostalgic throwback to a century ago set to 16 popular vocals, from Gershwin and others. The wild and wacky opus at times looks like a recreation of Harvard’s Hasty Pudding holiday show, with chorus lines, show tunes, rumbas, Charlestons running on all cylinders throughout. Clearly great fun. Call it superficial if you will, but it’s yet another demonstration of Morris’ choreographic versatility, able to dabble in every genre under the sun.
Does the barefoot (or close to it) Dance Group occupy a space between modern dance and modern ballet? While traditional ballet emphasizes dancers who appear weightless, modern dance is, or was, with feet firmly rooted to the ground. The Dance Group stands on an intriguing midstream terrain of creativity.
DANCE NOTES—This touring New York modern-dance clan is one of the largest such touring ensembles in the country, with a core group of 18 dancers, not counting the musicians. That may account for the pricier tickets, running over $100….. To judge by the smooth stances, porte de bras and pointed toes, MM’s dancers have undergone a great deal of ballet training too….The whole Friday audience wore masks and was checked for Vaxx cards on entry.
MARK MORRIS DANCE GROUP, 18 strong, 4 works with Morris’ choreography, plus live pit chamber musicians, at Zellerbach Hall on the UC campus, Berkeley. Dec. 17-18 at 8 pm, 19th at 3. For info: (510) 642-9988, or go online: www.calperformances.org.
