Joan Acocella, author of “Mark Morris,” describes the Christmas party that opens “The Hard Nut,” Morris’ updated “Nutcracker,” this way. But what most clearly distinguishes Mark Morris’ work from that of his predecessors and most of his contemporaries is that his performances are orchestrated by peals of audience laughter. His works are movement operas to complex scores in which difficult themes-suffering and redemption, the nature of love-are explored with patience and humility. Morris, a 37-year-old choreographer and dancer, dispenses with both synthesizers and small talk. Anyone who has politely daydreamed through concerts in which well meaning young people in unitards walked, ran and occasionally danced through 40 or more minutes of anonymous electronic noise, is invariably shocked and delighted by the Mark Morris Dance Group. Modern dance, since its earliest heroic days, has suffered from a chronic and painful irony deficiency.
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