“The Look of Love” by Mark Morris Dance Group. Choreographed by Mark Morris. Music by Burt Bachrach. Lyrics by Hal David. Music Direction by Colin Fowler. Presented by Arts Emerson, Emerson Cutler Majestic Theatre, 219 Tremont Street, Boston, through January 26.
By Michele Markarian
Admittedly, I was not in the zippiest frame of mind when I entered the Emerson Cutler Majestic Theatre the other night – the climate, both in Massachusetts and the nation, was feeling chilly. We settled into Ethan Iverson’s thoughtful, regretful piano rendition of “Alfie,” after which the curtain parted, and the ten dancers entered, dressed in Isaac Mizrahi’s colorful unisex clothing – think Rowan and Martin’s “Laugh-In” with regards to the colors – and carrying pieces of the simple set while gamboling lightly to an upbeat rendition of “What the World Needs Now.” They were smiling. And just like that, my mood was lifted. And stayed that way throughout the rest of the hour-long performance, which was aided by live musicians and two wonderful vocalists, Blaire Reinhard and Clinton Curtis.
The selections were well ordered and made for a textured show; for example, the happy opening was followed by “I’ll Never Fall in Love Again”, where the dancers, in keeping with the song lyrics, sneezed and pressed each other away. “Raindrops Keep Falling On My Head”, with its unique opening arrangement, was an opportunity for the dancers to protect themselves using pillows and flee the quickening drops. “Anyone Who Had a Heart” was punctuated by the soaring, soulful vocals of Blaire Reinhard, filling in for an ailing Marcy Harriell. Reinhard and Curtis, who modestly stayed seated during the production’s long standing ovation, were first-rate vocalists who complemented the dancers – and each other’s vocals – beautifully.
“Don’t Make Me Over” features the incredibly limber Dallas McMurray, which leads into the soulful “Are You There (With Another Girl), the dancers slipping in and out of possible clandestine pairings. “The Blob” , a piece from the Bachrach oeuvre that I had no recollection of, is eerily choreographed with somnambulant movements, the dancers appropriately blob-like. The action kicks up again with “Always Something There to Remind Me” before moving into “The Look of Love,” sensually performed by Courtney Lopes and Noah Vinson. The performance ends with “I Say a Little Prayer,” bringing “The Look of Love” full circle. It’s the theatricality of Morris’s choreography that makes it interesting and engaging, with each selection telling a palpable story.
It’s been six years since Mark Morris has performed in Boston, and judging from the reception he was given, he’s been sorely missed. Love in this current landscape is exactly what the world needs now, and I was grateful to witness the gift of it onstage at the Emerson Cutler, if only for a night.
