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Commissioned by Washington DC's Kennedy Center in the before-times, Mark Morris' Moon lands more ominously today than it surely did when it was conceived. But it still radiates joy.  

Mark Morris Dance Group’s second week at the Joyce Theater in New York unveiled a world premiere in a mixed bill that represented a narrow range of Morris’ dazzling creativity.

It's 33 years since its premiere in Brussels, and in its eighth season in New York at the Brooklyn Academy of Music, this irreverent American classic is still firing on all cylinders.

The latest revival of the company’s 2007 stylish production of Gluck’s operatic take on the Orpheus myth is enlivened with superb singing and dancing.

Alexander Ekman's Cacti is the zany highlight of the evening! 

“Your love affair with ballet, your time with ballet, is short,” explains Welsh about his ballet Bespoke, “Eventually you lay down, and dance keeps moving. It’s a bittersweet thing.”

Jamie Barton's rich, mellifluous mezzo is ideal for singing Orfeo.

It's possible to have nothing but admiration for Mark Morris as a choreographer, yet his actual dances I often find pedestrian with a limited vocabulary. The works are interesting to see once, to see what he can do with classical music that has no obvious dance rhythms, but I rarely want to see them again.

Mark Morris' courtly choreography plays second fiddle to unique mugham vocals and the lyrical music inspired by Azerbaijan’s first composer 

What makes this piece entirely Mark Morris is, even more than the dancing, the music. 

Dido and Aeneas was triumphant and had all those great moments that make Morris’s choreography among the most musical I’ve seen.

If you’re only going to one holiday show, this is the one you want.

The staging required that the dancers move through and around the musicians, and this intertwining gave the piece a coherent visual identity and a flowing energy. 

Mozart Dances is a great piece of work and when paired with Garrick Ohlsson and the Mostly Mozart Festival Orchestra, it’s a terrific night at the theater.

What Wheeldon seems to have used from this musical concept for the formation of the choreography is the idea of a mechanical universe, overrun by the presence of time.

San Francisco Ballet opens Program 2 of the 2016 season with pieces by two cornerstone American choreographers, George Balanchine and Mark Morris, and a world première by British choreographer Liam Scarlett.

I’ve never seen an audience enjoy another Nutcracker production as much as this one.

Isabella Boylston, Cassandra Trenary and Herman Cornejo are exemplary in Mark Morris's new After You, a ballet of simple grace.

Dancers tip-toed in stately procession, while alternately molding into aggressive gnarled warriors, images familiar from amphorae; they presage a clash of forces of destruction, the unfolding of a love story, and a sorcerer’s ravenous desire for control.

The Mark Morris Dance Group delights at the Brooklyn Academy of Music.

Fall for Dance's Program One features Black Grace, San Francisco Ballet, Russell Maliphant's choreography and the Mark Morrids Dance Group. A mixed bag, with Morris's Words the lovely cherry on the top!

Few choreographers can match Mark Morris and his dancers for exuberant beauty or musical savvy.

Mark Morris Dance Group present an excellent Programme B (with the dazzling Festival Dances) at London Sadler’s Wells. 

The Mark Morris Dance Company at Sadler’s Wells: Greek Tragedies and other visual counterpoints with plenty of references to dance history, all served with a delicate ironic touch.

On Friday, American Ballet Theatre gave us two Shakespearean reveries, José Limón’s Moor’s Pavane and Alexei Ratmansky’s new Tempest, and the contrast served neither well. Limón’s tightly structured, minimalist meditation on the theme of jealousy in Othello was partly overshadowed by the glittering spectacle of The Tempest.

Thursday night belonged to the corps de ballet at American Ballet Theatre. With the ghost of George Balanchine watching from his customary spot in the downstage right wing at the theatre formerly known as the New York State Theater, his blissful Theme and Variations and Alexei Ratmansky’s electrifying Piano Concerto no.

As Handel made music of John Milton’s poems L’Allegro and il Penseroso , Mark Morris made Handel’s music dance. The 32 scenes of Morris’ ballet breathe with inspiration of figures and designs from watercolours William Blake did for an edition of Milton’s poems.

The Teatro Real de Madrid has finished 2012 and welcomed 2013 with an excellent dance company. Mark Morris Dance Group has come to the Spanish capital to offer only six performances of its internationally acclaimed Mozart Dances.

American Ballet Theatre’s gala performance for the opening of its New York season was wonderfully varied and matched the level of excitement necessary to kick off a run at the prestigious City Center.

It must be exciting to be a member of San Francisco Ballet, America’s oldest ballet company, founded in 1933. These classically trained dancers are given the opportunity to sample many wonderful new works, rather than a repertoire of old traditional masterpieces.

Even Mikhail Baryshnikov was curious to stop by the Brooklyn Academy of Music (BAM) on Thursday March 1st to the witness the world premiere of Mark Morris’ A Choral Fantasy. The work sets movement to the score of Beethoven’s Fantasy in C minor for piano, chorus, and orchestra, Op. 80.

Read our review of Mark Morris' production of Gluck­'s Orfeo ed Euridice in its 2009 broadcast from the Met Opera in New York.