Mark Morris

Mark Morris (born August 29, 1956, Seattle, Washington, U.S.) is an American dancer and choreographer who formed his own modern dance company, the Mark Morris Dance Group. He was noted for his innovative and, at times, controversial works.

At age eight, after attending a performance by the José Greco flamenco company, Morris decided to become a Spanish dancer. He took classes and at age 11 began performing professionally. Two years later he joined the Koleda Folk Ensemble and at age 14 began choreographing professionally. Morris spent part of 1974 studying in Spain and in 1976 moved to New York City, where he danced in the companies of such choreographers as Eliot Feld, Lar Lubovitch, Laura Dean, and Hannah Kahn. In 1980 he launched his company when he and 10 fellow dancers presented a concert of his works, and its reputation was solidified at the Brooklyn Academy of Music’s 1984 Next Wave Festival. Two years later Morris won a Guggenheim fellowship, was choreographing for major ballet companies, and began taking his company on tour. Many, however, did not understand his outrageous humour or his more creative works, and he soon earned a reputation as “the bad boy of modern dance.”

In 1988 Morris became the resident choreographer of the Théâtre Royal de la Monnaie in Brussels, and he expanded the membership of his company and renamed it the Monnaie Dance Group/Mark Morris. During his three years in Belgium, Morris choreographed some of his most acclaimed and enduring creations, including L’Allegro, il penseroso ed il moderato (1988), his first full-evening work and the subject of a photo and essay book (2001); Dido and Aeneas (1989), a dance version of the opera, in which Morris danced the parts of both Dido and the Sorceress; and The Hard Nut (1991), his version of The Nutcracker. While Morris was out of the United States, Mikhail Baryshnikov and the White Oak Dance Project kept Morris’s works before the American public.

Following the company’s return to the United States in 1991, Morris created an average of five or six new works each year for his company—including Beautiful Day (1992), The Office (1994), Somebody’s Coming to See Me Tonight (1995), and Four Saints in Three Acts (2000), his version of the Gertrude Stein–Virgil Thomson opera—and by 2001 had choreographed more than 100 numbers. Noted for his musicality, he created classical ballets for numerous companies, including the American Ballet Theatre, the San Francisco Ballet, and Les Grands Ballets Canadiens. By the turn of the 21st century, the onetime enfant terrible of modern dance had become a setter of standards and a solid member of the dance establishment. In 2001 the Mark Morris Dance Center in Brooklyn, New York, opened as the troupe’s first permanent home in the United States.

Morris continued to choreograph pieces for his company, including Mozart Dances (2006), Romeo & Juliet, On Motifs of Shakespeare (2008), and Festival Dance (2011). He also conducted performances at Tanglewood Music Center, Lenox, Massachusetts; Lincoln Center, New York; and Brooklyn Academy of Music, New York. In addition, he served as music director for the Ojai Music Festival, California, in 2013. Morris later collaborated with Yo-Yo Ma’s Silk Road Ensemble on Layla and Majnun (2016), a stage production of an Azerbaijani opera based on an ancient Arabic folktale. During the height of the COVID-19 pandemic in 2020–21, Morris choreographed short video dances for his company and a piece intended to be performed outdoors (Water, 2021).

Morris’s memoir, Out Loud (written with Wesley Stace), was published in 2019.