The master of musicality, Mark Morris delivers four gems, although a little light on angst.

The Joan Sutherland Theatre, Sydney Opera House
June 3, 2015

The language of modern dance can all too often reside in an emotional and aesthetical territory that feels fraught, earnest and intimidatingly cerebral. Whether it be the sleek, hyper-extensions of Wayne McGregor, the startling complexities of William Forsythe, the juddering, dystopian fury of Hofesh Shechter, or the frenetic energy of Rafael Bonachela, contemporary choreography is largely a medium for communicating serious profundity.

However one of America’s most exalted dance makers, Mark Morris, has a very different message in mind. His muse is music and his subject, more often than not, is unashamed, unselfconscious joy. As a fervent and outspoken advocate for the use of live musicians in his work, and as a devotee of classical repertoire, few dance artists can rival Morris’ peerless reputation for being one of the most musical choreographers around. So in tune with his sense of musicality, Morris has for the past decade also conducted his company’s resident ensemble, as well as occasionally taking engagements to direct opera. Little wonder then, that for the Mark Morris Dance Group’s first appearance in...