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Mark Morris's arrival on the New York dance scene was spectacularly timed. George Balanchine died on April 30, 1983, leaving a company shaken, a following forlorn, and an art form facing a new era: classical dance post-Balanchine. Nine months later, on January 2, 1984, Mark Morris was born in the pages of The New Yorker, in a key-to-the-city review by Arlene Croce titled "Mark Morris Comes to Town." The timing was elegant, just the kind of fateful precision that served Balanchine during a long life of ups and downs, decisions and revisions. And the timing was comforting, not least because it was so Balanchinian. New York dance--stripped of its genius, its prize, its lyric ...