About
I decided to start a blog for three reasons:
1) People felt that there should be a part of the Threepenny website that was available only online, not in the printed magazine.
2) Some of the things I wanted to write about seemed as if they would benefit from a slightly more timely response than our usual quarterly publication permitted.
3) I was seeing and hearing so much interesting art — especially in the areas of dance and music, though also in literature, theater, and the visual arts — that I couldn't fit everything I wanted to say into The Threepenny Review without taking over the whole publication. And if you are not Diderot or Karl Kraus (and I am certainly neither), it is never a good idea to write the whole magazine yourself. But I figured the rules of blogs would allow me to monopolize one of those.
I struggled to come up with a good title for the blog and at first resisted using my own name, feeling (as those named Lesser are bound to feel) that diminishment is not necessarily a selling point. But then I figured that if people named Grudge or Drudge can use their names on websites, I should certainly not be abashed at calling this The Lesser Blog. So here it is, and I hope you enjoy it.
Wendy Lesser
Editor, The Threepenny Review-
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Tag Archives: mark morris
Looking at Love Again
A couple of weeks ago, I was able to get another glimpse of Mark Morris’s delightful tribute to Burt Bacharach songs, The Look of Love, which was playing for four days at BAM. This was actually my third encounter with … Continue reading
The Look of Love
Like Pepperland, the evening-length work set to Beatles songs that Mark Morris created a few years ago, Morris’s new Burt Bacharach production, The Look of Love, is pure pleasure. I went twice when it appeared at Berkeley’s Cal Performances this past weekend, and I … Continue reading
Layla and Majnun
Mark Morris’s new—what to call it?—opera, dance, Gesamtkunstwerk, which had its New York premiere last weekend at the White Light Festival, strikes me as his best work of the decade. I hesitate to go out on a limb like this, … Continue reading
Song and Dance Man
The two operas directed by Mark Morris that appeared at BAM last weekend were as different from each other as they could be, and yet each bore the mark (so to speak) of their choreographer-director. What this means, among other things, … Continue reading
White Light
Every fall for the past few years, at the instigation of Artistic Director Jane Moss, Lincoln Center has put on its “White Light Festival” during October and November. The title comes from a phrase by Arvo Pärt, a famously religious Estonian … Continue reading
A Full October
Once again I have been so frantically attending things that I’ve neglected the blog. Here, in summary form, is my attempt to catch up. A few of these items may reappear later in longer, printed essays. October 10 and 11: … Continue reading
Oops
Three months between error and correction is an awfully long time, and occasionally more than one issue passes before I discover my mistakes, so I’ve decided to use this blog entry to rectify some of the errors I’ve made in … Continue reading
News Flash
It turns out—to no one’s great surprise—that Mark Morris’s L’Allegro, il Penseroso, ed il Moderato, now a quarter-century old, is as amazing as it ever was. In fact, like many of the best works of art, it seems to have accumulated … Continue reading