Mark Morris zips through a list of his dances that the White OakDance Project will be performing our its current U.S. tour: "TenSuggestions," "Going Away Party," "Canonic 3/4 Studies," "Deck ofCards," and a new work, "A Lake."
Hmm, "A Lake"? As in "Swan Lake"? A parody of or a tribute tothe hardy standard by Marius Petipa?
Morris doesn't answer this impertinent question.
"A Lake," "Swan Lake." Any similarities here?
"I don't know what you're talking about," Morris says, soundingmore than a little pleased with himself.
Would it have anything to do with white tutus, enchanted girlsand overwrought music by Tchaikovsky?
"What do you mean?" Morris says.
Oh, forget it, it must have been a hallucination. Obviously thereporter is not running this interview. Mark Morris, wild child ofthe dance world and one of today's most lauded choreographers, hastaken control and is having a fine time of it.
He's used to calling the shots. After all, one of the White OakDance Project dancers, who is submitting himself to Morris' control,is Mikhail Baryshnikov, the ever-mercurial Russian ballet star whohas thrown himself into the largely alien discipline of contemporarydance.
With the White Oak Dance Project, named for the Floridaplantation where the troupe rehearses, Baryshnikov is trading bravurapyrotechnics for less showy cerebral experimentation. Dance, asenvisioned by Morris, retains ballet's musicality and classicalmovement, while shunning traditional structures and themes. A WhiteOak pas de deux can be danced by two men or two women.Cross-dressing, near nudity and pink pajamas are just some of thecostuming options. Playful whims replace studied formalism.
If there is a constant theme in these widely divergent spheresof ballet and contemporary dance, it is an unvarying search for thepurest form of movement, the perfect fusion of emotional impact andphysical grace. In Morris' hands, Baryshnikov treads upon familiarturf, employing a new set of steps.
It's a humbling experience, but Baryshnikov seems to revel inhumility. Forsaking the usual star turn, Baryshnikov performs withthe 14-member White Oak troupe without fanfare. His name appearsfirst on the playbill only because the list is alphabetical.
Although Baryshnikov is a co-founder (with Morris) of the WhiteOak Dance Project, he has left artistic decision-making to the34-year-old choreographer. Morris creates the dances and the43-year-old Baryshnikov, the former artistic director of AmericanBallet Theatre and the arguably best male dancer in the world,follows along.
"We all dance together," Morris says. "It's not like the backupgirls with the big stars. (The dancers) are not like the Ikettes."
Baryshnikov, Morris and the dancers - never, never call them the"corps" if you want to stay on Morris' good side - will be touring 15cities before their summer tour ends Aug. 23. Like their Saturdaystop at Poplar Creek Music Theatre in Hoffman Estates, many of theengagements will take the dancers to large venues better suited for rock performances. (LastNovember, the company performed at the Arie Crown Theatre.)
Trading chamber music for full-tilt boogie and jetes forgyrations seems incongruous for a rock showcase like Poplar Creek,but Morris is more concerned about the weather.
"We're playing giant arenas, outside, in 100 percent humidity,"Morris says. "It's very bad for mascara."
What's it like dancing in hot soggy air?
"I don't know, I haven't toured with this band before," answersthe ever-flippant Morris. In other words, he's game for anything.
This is the first year the choreographer will be performing withWhite Oak, offering dance fans a chance to study the contrast betweenMorris' style and Baryshnikov's interpretations.
Morris has recently concluded a stint with the government ofBelgium, choreographing works with his Monnaie Dance Group. Afterspending three years abroad, Morris admits he is wary of resuming hiscareer in the United States. At a time when dance funding is meagerand self-styled critics line up to take potshots at the NationalEndowment for the Arts, artists aren't enjoying a renaissance ofcreative expression in the United States.
"I know this is a horrible time to bring my own company back tothe United States," Morris says. "Here we are dancing around withouthardly any clothes on. Still, I intend for (dance) to be seen bypeople."
Because the White Oak Dance Project includes Baryshnikov, manymembers of the audience for last year's tour expected the sort ofsky-high leaps and endless pirouettes that made Misha famous. Whatthey got was Morris' thoughtful, classically based pieces, which areoften firmly rooted to the ground. (White Oak and the Monnaie troupeshare their repertoire of Morris dances.)
"There was a certain sector of the public that thought weweren't the greatest thing they have ever seen," Morris admits. Incontrast, the Belgian audiences for the Monnaie troupe usually werequite accepting.
"These are crowds that go to theatrical events mostly - it's adifferent part of society," he says. "You sort of do a show and theycome."
Some European critics have remained cool to Morris'choreography, with its American imagery and hip Yankee humor. ("GoingAway Party" features a Western theme and music by Bill Wills and HisTexas Playboys.) There's not much he can do about that.
"I'm an American, but I'm not a patriot or anything," he says."I think there just are different ways that Americans areperceived."
Back on home soil, Morris continues to fashion American iconsinto his dances.
"I make things up and deal with the real world," Morris says."But I don't do an agitprop number, either. I have opinions aboutthings that form a basis for my dances."
Of the dances set for Poplar Creek, White Oak has chosen aMorris grab bag. "Canonic 3/4 Waltzes" is an older piece ofintricately repeated steps set to ballet class music. "Going AwayParty" is a country-western salute. "Ten Suggestions is a flowingsuite of solos danced to piano music by Tcherepnin. "Deck of Cards"features comic country images and Morris dancing in drag to thecountry drawl of George Jones.
Oh, yeah, that mysterious new dance, "A Lake," is set to Haydn'sHorn Concerto No. 2 in D. This dramatic, classically based work for10 dancers has a featured role by Baryshnikov. It has nothingwhatever to do with that golden oldie, you know, what's-it's-namewith the flock of birds. Help me out, Mark Morris.
"What's that?"
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