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Bubble boy: Mark Morris at BAM. (Dance).

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| June 01, 2003 | Jacobs, Laura | COPYRIGHT 2003 Foundation for Cultural Review. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

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 ...

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