OUT ON THE BAYOU
JANUARY 21, 2000 • HOUSTON VOICE
movement and music
>■ Continued from page 15
Handel's oratorio, "l.'Allegro, il Penserosoed
il Moderato," a pastoral oratorio in two acts
based on allegorical poems by Milton. This
work, which translates "The Social Man, The
Pensive Man and the Moderate Man," is tailor made for Morris's broad musical and
Premiered in 19H8 "L'Allegro" was the first
work that Morris created while he was dance
director at Belgium's leading opera house.
When Morris and his company made the
move from New York to Belgium, the tiny
troupe was transformed from a group of a
dozen unpaid dancers to a company with a
large budget, and its own studios, costumers,
lighting and set designers.
Morris knew he had hit the jackpot when
the director of the opera house said to him,
"Think of the biggest thing you want to do,
then do it." Morris had been forming
"L'Allegro" in his mind for years; he created
many significant works for the Belgians, but
"L'Allegro" was his most enduring.
f his expansive piece utilizes Milton's text
and the poems, written more than UK) years
before the accompanying music, illustrate a
late renaissance hued view of the universe.
Milton's text is a flashback to a time when
music, art and architecture were soaring to
"The Social Man" enjoys life with abundance, taking us into fields to witness lovers
dancing. "The Pensive Man" depicts a more
contemplative sort, one who derives pleasure
The 25 dancers portray Milton's imaginary
characters, not in literal form, but rather in a
complex series of movement, all distinctly different in rhythm and tone. Where the musical
text speaks of birth, Morris's style reflects an
earthy fertility. When quiet moments by the
fire are offered, dancers ingeniously intertwine to form a hearth and flame.
As if dance and poetry weren't enough for
"L'Allegro," Morris allows Handel's bright
baroque score to overlay the entire performance. Morns has always utilized musical
forms to inspire his dances.
"For Morris, the music must precede the
very conception of (his) dance," said biographer Joan Acocella, who oddly enough,
wrote her work about Morris while he was
still in mid-career.
While the list of composers he uses ranges
from the l?th century to Bob Wills and The
Texas Ptavbovs, the masters of the baroque
period, 1 landle chief among them, seem best
suited to tor Morris. Much of I landel's music
was based on dance rhythms popular in the
16th and 17th centuries, which translates
well for Morris. The entire voice of the 18th
century musical mind is here—sorrow
depicted in subtly gives way to the blaring of
royal trumpets that are imitative ol I landel's
majestic "Royal Fireworks" music.
Structure, musical and otherwise, is at the
core ot Morris's vision, as he shifts the focus
of dance from the ceiling to a more mid-body
centered style, rooted on terra firma.
While many choreographers seem intent
on using dancers as mere building blocks, in
"1 Allegro" Morns is guided by musical and
poetic messages. Visually he uses the human
form to create complex moving patterns
rather than static shapes.
"l.'Allegro" is one of the most colorful of
Morris's works—in addition to its 48 chiffon
silk costumes, it utilizes 21 scrims and drops
for scenery, offering a visual, musical and
offer—$13 million with earn-out provisions
for a maximum price of $32 million. In the
deal, Gold and Williams were retained to
run the company for five years.
Houston Voice interviewed Gold at the
Lenox Square Storehouse in Atlanta,
which features his slipcovered upholstered
furniture in a special concept shop.
Success in furniture manufacturing has
given Cold and Williams the freedom to
live openly as gay men in an industry
noted for its staunch family conservatism.
It allows them to promote concepts they
feel important (their new factory features a
day-care center for workers' kids) and to
support causes they hold dear (they an'
donors to Human Rights Campaign and
sponsors of the national gay and lesbian
TV newsmagazine "In the Life.")
"Ihe Mitchell Cold Co, is our oldest and
largest corporate sponsor," said Morgan
ild, executive director of "In the Life."
"The company has been a corporate underwriter of'In the Lite' since 1997. That support
has been vital to our ability to bring positive
and affirming images of the gay and lesbian
community to television nationally."
Special Guest Speaker
Reverend Jimmy Creech
Rev. Jimmy Creech has been working diligently to change the laws within the United
Methodist Church that discriminate against
After performing a same sex holy union
ceremony for two men, the Methodist
Church Jury found Creech guilty of violating
the rules of the church and withdrew his
credentials of ordination.
Come hear Rev. Jimmy Creech's remarkable
story of faith, hope, and renewal; and how
his ministries continue.
Sunday, February 6, 2000
9am & 11am services
All programs are free and open to the community!
1919 Decatur St., Houston, Texas 77007
www. mccr-hou. com
Celebrating 25 Jews
in the Community
Catholic 'Mass Celebrated
Saturdays at 7JOpm
1307-H<yak • 713-880-2872
. linwjil linn i mi u»a——iXMItMtv
Crad Duren, M.D.
Internal medical practice offering discreet
confidental care to the community, including
HIV/AIDS diagnostics & therapeutics
Healthcare from the Heart
Anonymous Testing and Counseling
Major Credit Cards Accepted • Personal dinks Accepted
Insurance wilh Qualification • Medicare