Happy Nymphs and Happy Swains

The final tableau of Mark Morris's Acis and Galatea. Photo by Richard Termine for Lincoln Center.
The final tableau of Mark Morris’s Acis and Galatea. Photo by Richard Termine for Lincoln Center.

As part of the Mostly Mozart Festival, the Mark Morris Dance Group is performing Morris’s production of Handel’s opera “Acis and Galatea,” in which dancers and singers share the same sylvan world onstage. In the pit, Nicholas McGegan conducts the Philharmonia Baroque Orchestra and Chorale. Here’s my review of last night’s performance, for DanceTabs.

A short excerpt:

“Unlike his Dido and Aeneas (1989) and L’Allegro, il Penseroso ed il Moderato (1988), in Acis Morris places the four soloists…onstage among the dancers. The chorus is down below, with the players. (Morris also took this approach in his delightfully zany staging of Purcell’s King Arthur, staged at New York City Opera in 2008.) Here, the singers and dancers share the same world, in relative harmony.”

And a couple of images from the production:


The new DanceView is out!

And includes my  Letter from New York DanceviewFall with reviews of the Australian Ballet, Shantala Shivalingappa’s contemporary-dance solo evening at the Joyce, Larry Keigwin, Trisha Brown’s “Astral Converted” at the armory, and Mark Morris’s “Dido and Aeneas.”

As you can see from the TOC, it also includes Mary Cargill’s review of ABT’s spring season, great reading (though I disagree with her quite strikingly about Ratmansky’s Firebird!).

Yuan Yuan Tan (in Yuri Possokhov’s Raku) is on the cover. The photo is by Erik Tomasson. (Yes, he’s Helgi Tomasson’s son.)