At 67, American Mark Morris is one of the giants of contemporary dance. Known for consistently pushing the boundaries of his craft, Morris’ world-wide reputation attests to the fact that he has never fallen out of favour, that he can keep up with the young turks who have followed him, and even go beyond.
When his latest work, The Look Of Love, is set to the music of another lion, composer Burt Bacharach, (six Grammys, three Oscars), opens for one night at Meridian Hall on Jan. 19, audiences will see for themselves that being a senior citizen has not dimmed Morris’ invention.
Of course, there is another great man involved in the evening, and that is the brilliant lyricist, Hal David. Together, the songwriting team produced a string of chart-topping hits, primarily in the 1960s and 70s, mostly performed by their muse, the great songstress Dionne Warwick.
I reached Morris by Zoom in New York, where the choreographer proved to be as salty and irreverent as always.
What would you say is the ethos behind your choreography?
I try not to bore people to death.
I always associate your dance shows with live music.
That’s right. My inspiration for choreography is music, and I work with all kinds. I call my shows beautiful choreo-musical evenings.
Where does this Bacharach show fit into the mix?
It’s a show business evening — a parade of hit songs set to forward-looking arrangements by jazz great Ethan Iverson.
Before Burt passed away, he approved of what we were doing. He didn’t want a jukebox musical built around his music. He was delighted to give us the rights. He also gave us tips, like using a trumpet and different voices. He didn’t want recreation.
At age 94, he actually came to our last rehearsal in Santa Monica where the dance was premiering in 2022. He arrived with his entourage, and he gave us notes, and his approval. Sadly, he passed away just months later.
How did the Bacharach dance come to be?
Before Ethan went on to his fabulous career, he used to be my music director. Way back then we had talked about a Bacharach piece, but it never happened. In 2017, we came together for Pepperland which we created for the City of Liverpool: Sgt. Pepper at 50 Festival, which was a great success. That’s what made us think it was time for Bacharach.
What was it about Bacharach that appealed to you both?
We loved the music. Going through his catalogue was thrilling, because we had actually forgotten some of the songs he had written. Did you know that in the 1950s, he was writing country and western songs for the likes of Marty Robbins?
What makes Burt special is that all the songs have varied rhythms, so no one is really the same. He was meticulous about rhythm. He worked hard to get the speed and syncopation right. And then there’s his fascinating key signatures, and chord changes, and the influence of Brazilian bossa nova. He oversaw every aspect of production.
The music and lyrics are inseparable. Hal David’s text influenced the music. They made the music happen. As well, there is a lot of heartbreak in the lyrics, yet the music itself is more light-hearted than the text. When you break down the songs, there is a real edge to them on a deeply personal level. It’s really fabulous music that is very hard to sing. Don’t try it at karaoke.
How have you and Iverson set up the piece?
Through a sequence of contrasts — slow, happy. etc. There are also fast changes. It’s unpredictable. I’m lucky that my studio is large enough to accommodate the band so we could rehearse with them. We worked it out, by working it out, The piece begins with a piano solo of Alfie, which acts as the overture, and the way into the dance.
What are the components of the piece?
There are ten dancers. Ethan has produced new music arrangements for piano, trumpet, bass and drums. The talented Broadway/TV singer/actor, Marcy Harriell is lead vocals, and there are two back-up singers. There are also chairs and pillows.
Now there’s a rule of thumb that choreographers should never use chairs. That it’s a crime — that the stereotype of a sad dance is going to be performed by a dancer on a chair. Audiences roll their eyes when they see chairs. I don’t do stereotypes.
Your designer is the great fashion guru Isaac Mizrahi.
He’s really not into fashion so much anymore. He’s a really good friend, and he was eager to do it, especially the colours on the chairs and pillows. The costumes have no direct period, because the songs are timeless.
You said that Bacharach didn’t want his music to be in a jukebox musical. How do you feel about them?
I don’t go to them. I’d rather listen to the music at home. They are easy, and guaranteed. I don’t see my dance shows with music competing with Broadway. Just look at Pepperland. That Beatles’ album was never intended to be performed live, but we did it, complicated by imagination. The challenge is making up a dance that I like.
I understand there were real challenges creating the Look of Love.
It was put together during COVID, so it was hard to create on Zoom. You really can’t choreograph on zoom. It was impossible to rehearse. People kept getting sick. Our touring gigs were being cancelled. Even now when we tour, we are careful. It’s still dicey. We mask up.
These songs are hits from long ago. Do you worry about not attracting a younger audience?
I’m as phono-phobic as the next old guy, but I believe that young people are drawn to good shows and good music. Their playlists are vast.
Did the dancers know the music?
They do now.
How would you sum up the Look of Love?
I’d say there is a lot going on in the piece. It’s a very compact, succinct, direct show, and it’s all live — the dancers, musicians and audience. That is what I love about live performance. No show is ever the same. I think it’s a beautiful piece.
I can’t leave without asking you about The Blob. I know the 1958 cult classic was Steve McQueen’s first leading role, but I can’t recall any song in it.
Burt wrote the song that plays under the end credits. It’s really a Beach Boys, beach blanket type of song, but we make it scary.
The Look of Love Addendum — The Program
As Mark Morris says, “You don’t think you know the songs, but you do.”
These are the (mostly) Burt Bacharach/Hal David songs featured, in whole or in part, in the show.
Alfie
What the World Needs Now
I’ll Never Fall in Love Again
Message to Michael
Raindrops Keep Falling on My Head
Do You Know the Way to San Jose
Anyone Who Had a Heart
Walk on By
Don’t Make Me Over
Are You There (With Another Girl)
The Blob
Always Something There to Remind Me
The Look of Love
I Say a Little Prayer.
- TO Live/Mark Morris Dance Group//The Look of Love, An Evening of Dance to the Music of Burt Bacharach will take the stage at Meridian Hall on Jan. 19. More information and tickets for the show here.
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