Mark Morris's second programme opens with a different UK premiere: Visitation, a spare, strange setting of Beethoven's Sonata No 4 for cello and piano. The music is filled with disconcerting echoes and moments of hiatus, and in Morris's step arrangement, these translate into equally unsettling manoeuvres. Dancers insert themselves, ghost-like, between two partners in a duet; they are cut off mid-phrase, or simply left bowing to blank space. In one section, three of them are carried parallel on to the stage, and as the music skips a sudden set of heartbeats, are tilted on to their feet, like lost souls jerked into life.
Visitation has moments of plangent loveliness, but it waits for you to discover them. And even in his more extrovert works, Morris often delivers his effects by stealth. Going Away Party (1990) is a homage to American western swing, set to 11 songs by the ebullient Bob Wills and his Texas Playboys. primarily, it looks no more ambitious than a regular cowboy romp, cast with strutting guys and flirtatious gals, and it is only in the second song that you start to get the measure of how funny and clever it's going to be. Formation-wise, there are moments of intellect, such as the asymmetrical square dance that requires wicked trickeries of positioning from its seven dancers. As for the humour, rarely does Morris's gift for referencing his lyrics get so droll, rising to the smutty delight of Wills's serenade to his girlfriend's lips, which prompts all the lady to leap on to the shoulders of the men, crotches pressed in opposition to their partners' mouths.
for more details about dancers please click here
Visitation has moments of plangent loveliness, but it waits for you to discover them. And even in his more extrovert works, Morris often delivers his effects by stealth. Going Away Party (1990) is a homage to American western swing, set to 11 songs by the ebullient Bob Wills and his Texas Playboys. primarily, it looks no more ambitious than a regular cowboy romp, cast with strutting guys and flirtatious gals, and it is only in the second song that you start to get the measure of how funny and clever it's going to be. Formation-wise, there are moments of intellect, such as the asymmetrical square dance that requires wicked trickeries of positioning from its seven dancers. As for the humour, rarely does Morris's gift for referencing his lyrics get so droll, rising to the smutty delight of Wills's serenade to his girlfriend's lips, which prompts all the lady to leap on to the shoulders of the men, crotches pressed in opposition to their partners' mouths.
for more details about dancers please click here
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