THE LOOK OF LOVE

Review by Celia Ipiotis

Couples clasp hands, swing arms over easy hops and weightless balances in tune to Mark Morris’ dreamy The Look of Love set to a medley of Burt Bacharcah songs with new arrangements by Ethan Iverson at the Brooklyn Academy of Music.

Reminiscent of great American musicals, The Look of Love begins with an overture featuring Ethan Iverson, a noted jazz pianist, playing “Alfie.” 

A mixed company of animated dancers negotiate Morris’ erudite choreography, at times incorporating vernacular pantomime (like a person playing a song while looking in the mirror and miming the words) cheeky embraces and rhythmic counterpoint.  

Humor is never far from the surface, as evidenced when dancers run into view and out again, lining up like cars in traffic to “Do You Know The Way To San Jose?”  

Throughout, the choreography retains an integrity of form enlivened by some excellent dancers including the 14 year veteran Billy Smith, and the silky Courney Lopes — especially when she soars through “Raindrops Keep Droppin’ on my Head.” She lopes through imaginary water puddles and enthralls in the rain tapping her face and hands. 

In a satisfying choreographic decision, “Alfie” is reprised at the end drawing the company into a circle of friendship. Clasped hands rise up in a folk dance stance of universal support and joy in life.

The only major design elements besides the costumes in pink and orange, lavender, plus pops of yellow by Issa Mitzrahi, are the folding chairs moved about by dancers. Nicole Pearce’s lighting design imbues the stage with a warmth echoed by the dancers communing in linear patterns and tribal circles.

Committed to live music, the band features Ethan Iverson, piano; Jonathan Finlayson, trumpet; Simón Willson, bass; Vinnie Sperrazza, drums; Clinton Curtis and Blaire Reinhard, background vocals plus the fantastic lead vocalist Marcy Harriell. Occasionally her power-punched soulful singing and charismatic presence draws attention away from the stage.

The Look of Love soothes at a time of deepening discourse and uncertainty.

EYE ON THE ARTS, NY — Celia Ipiotis