Has any choreographer extracted as much value from the chug step as Mark Morris? Jerome Robbins came close in “Glass Pieces,” and George Balanchine gave chugs some big moments in “Apollo,” but Morris consistently uses the simple move to demonstrate a profound musicality. Chugs are inherently galumphing, but Morris wields them like a baroque architect. It’s as if he paints cathedrals with thick toddler crayons. Though it must be said, he pulls off the same trick with basic walking, running, skipping, etc. During week two of the Mark Morris Dance Group’s run at the Joyce (their first stint ever at the theater: how is that possible?), his ability to erect the sacred from the mundane was on wondrous display.
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading