This past weekend saw the world premiere of Mark Morris Dance Group’s new work, Acis and Galatea, with the Bay Area’s splendid Philharmonia Baroque Orchestra and Chorale as the supporting musicians. The music, wonderfully, is Mozart’s 1788 arrangement of a work by Handel, written in 1718. The world premiere took place at Zellerbach Hall on the University of California, Berkeley campus, as one of the last performances of the 2013–14 season at Cal Performances, the presenter and one of the co-commissioners of the production. Cal Performances has had a long and fruitful relationship with the Mark Morris Dance Group. The original text was by John Gay, with later additions attributed to Alexander Pope and John Hughes. Gay is probably best remembered for The Beggar’s Opera, the story of which was used in Brecht and Weill’s Die Dreigroschenoper.
Unlike The Beggar’s Opera, Acis and Galatea retells Ovid’s story of the love of the shepherd Acis and the sea nymph Galatea in a pastoral opera, full of elegant charm: “O the pleasure of the plains!/ Happy nymphs and happy swains.” Morris’ version picks up the lightness of springtime love and the nonsensical imaginings of the 18th century, when the rustic world of shepherds was envisioned as an Arcadia of sweetness. The chorus of nymphs and swains pairs up to dance in concert with the lovers’ joyful declarations.
Two couples – Aaron Loux with Chelsea Lynn Acree and Sam Black with Jenn Weddel – become the embodiment of the shepherd and nymph, dancing pas de deux during the songs, with long sweeping lyrical gestures.
The lighting is bright and the sets, beautifully created as painterly scrims by Adrianne Lobel, are evanescent – the transparency of the fabric pierced here and there through the vaguely landscape imagery to create entrances and exits as if the performers were moving through a forest.
Soprano Sherezade Panthaki sings a richly warm-colored Galatea, and is matched by tenor Thomas Cooley’s Acis. Both have focused and virtuosic voices well suited to the Baroque repertoire. The two lovers sing while wandering through dancers and scrims in a whimsical hunt for each other.
Morris seems inspired by the essential silliness of the Arcadian vision to push the playfulness of love to a benign extreme. A self-aware silliness has always been a vivid part of Morris’ palette, as witnessed most notably by The Hard Nut. Love, being absurd and unfailingly foolish, is always susceptible to a raised eyebrow and a singsong parody: Acis and Galatea sitting in a tree, K-I-S-S-I-N-G. And there is much in the choreography of Acis and Galatea that partakes of that: skipping and bouncing abound as the dancers form and reform into communal dances vaguely reminiscent of contra-dancing, and now and then a very literal miming of the libretto – at one point, the dancers flock past Acis like timid sheep – brought laughter from the audience. Gentle satire often provides relief from the gestures of high art.