But here it counted for more. Chaconne is moving and not a bit out of date. Over time, the Everyman dancing in Mark Morris' interesting 1995 piece, Three Russian Preludes , grows up. From spry puppet tilting off center and mechanically splaying his arms and legs to the first Shostakovich prelude, the dancer moves on to a dimmer and less certain middle passage. Tottering, hesitating, he sometimes initiates turns then loses momentum.
Beginnings lead nowhere.
And yet a determined balance underlies his awkwardness. In the third and final section, his capable sprightliness resurfaces, but with a difference. After facing limitations and doubts, a man may find meaning. His heart breaks through, and every move now carries an inner fire. It ends with jaunty turns and sassy humor, a nice excuse to feast one's eyes on one of dance's most charming men having some fun.