It’s hard to imagine two more different works coming from the same choreographer. While Mark Morris’s white-on-white Socrates was the revelation of his company’s opening programme, it’s his celebration of the nonsense poet Ivor Cutler that prove…
From romping in woolly socks to the surreal comic songs of Ivor Cutler, to the clean surface and mysterious depths of the Satie’s account of the death of Socrates, he and his dancers are bold, varied and utterly distinctive.
The closing piece Socrates is by far the most elegiac and contemplative. Set to Satie’s symphonic drama it’s a ballet/opera with the live singers and Morris’ own Music Ensemble delivering a mesmerising and delicate account of Socrates’ life.
The action as it unfolds is brutal and erotic: at one point, standing, he takes hold of her bare leg and flips her around the floor like the hands of a clock; at another, she walks over him as he crawls across the diagonal. The ending is shocking, thrilling – you…
Rosemary Lee is the recipient of the 2013 Bonnie Bird New Choreography Award. Probably best known for her large scale community works – like Common Dances and Square Dances (recent Dance Umbrella commissions) … Continue Reading
Mark Morris and his dancers haven’t exactly been absent from Britain in the last decade. But they’ve only performed their large-scale pieces and projects, and it’s been too long since we’ve seen the mixed programmes, the little works that reveal t…
What he does looks quite simple. He sets steps to wonderful music, played live, and performed by people who have a vitality very different from the kind of etoliated intensity of most dancers. Yet in fact Morris’s choreographic conceits, his sheer invention as he respo…
Satie apparently wanted his composition to be ‘white and pure’ and Morris captures that transparency beautifully. His musical integrity is undeniable, but only this final work reaches a higher plane. Otherwise, it’s a sober evening.
There were 20 different short pieces on view including eight premieres & one UK premiere, plus second showings of three works. Along with a pretty ambitious programme there was the fine venue itself... Continue Reading
Capturing comedy in ballet is difficult without descending into vulgar slapstick but Cranko’s genius lies in creating a clever mix of subtle parody, lyrical dance & a brisk momentum that allows the far… Continue Reading
This Thursday take a peek behind the scenes at some of the ballet stars of the future - online from 5.30pm... Continue Reading
This programme provokes an overwhelming thought that Clark’s newer work seems now to be hovering in the slipstream left by the shooting star that was Merce Cunningham... Continue Reading
There is a certain serene beauty to the precision-tooled, skewed-classical movements.. but the disconnect between those strictly shaped arms.. and the dreamy electronic pop soundtrack, doesn’t seem to yield anything very insightful or thrilling.