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To discuss the second first, the music sounded like The Rite of Spring, enlivened (?) by rock rhythms in the beginning, all attempting to emulate Philip Glass and at the end perhaps five minutes of extended crescendoes and sound summations. This required the ever-inventive Mr. Morris to provide inumerable ways for his game, willing and superb dancers to spin and turn without the promise of dervish bliss.

Chybowski provided his usual magic shades and gradations of lavender, plush pink and deep purple, and the Hendee-Kurtzman team dressed stage and dancers with white squares crossed,slashed and diagonally marked with black lines.

I don't mind having my mind and taste stretched or acquiring a new perspective, but monotony of sound magnified by electronics contributes precious little to the spirit.

Mosaic and United was one of those marvels of economy: lighting and costuming , the stage moving from black where the brilliantly costumed dancers in shining jewel toned loose over blouses floated in space accented by Henry Cowell's spare quartets. Morris' keen ear faithfully followed the musical structure. Cowell may have been a modernist, but he knew something about the sonata allegro form and used it. For the opening image to focus one's concentration, a pool of light on a single bronze-garbed dancer bent over himself in an extravagant a la seconde was ideal, Petrouchka coming back for further reflection.
 

David Leventhal and June Omura in Mark Morris’ Mosaic and United
© Stephanie Berger

The loose over blouses got changed for sleeveless tee-shirts and every so often the overblouses appeared again. There may well be a musical correlation but I need a second viewing to verify that.

What I find so marvelous is Morris' use of formation, repeated in different directions, then mixed up with another ancillary group, gestures and formations traded off echoing musical line and various instruments. When the dancers jump, frequently in place, it is like a spontaneous "Wow!" They also execute a liquid walking run covering space like children pretending to revve up a car to travel down a road. Occasionally he will ask them to flick their hands and fingers like a Shakespearean actor intoning, "Begone you then," a usage both flagrant and apt, leaving you to shake your head in wonder.

Mosaic and United is as fresh and fascinating as when it was created on the birthday of Jean Georges Noverre eleven years ago. I think it says something about Morris and that early choice of music. We must wait an equal length of time to see if The Bad Plus score will enjoy similar durability.