Joffrey Ballet

Principal Dancer Edward Morgan
Original Joffrey Ballet New York City


Ballet: Touch Me – Solo Choreographer: Gerald Arpino
Dancer: Edward Morgan Photo: Herbert Migdoll

Los Angeles Times – 1989 Lewis Segal 

The ballet Touch Me choreographed by Gerald Arpino and performed by Edward Morgan at The Dorothy Chandler Pavilion reviewed by the LA Times 
“showed Morgan to be a dancer of great power and versatility, and Morgan’s performance gave the borrowed dance-rhetoric superb immediacy.”

New York Times – 1991 By Jack Anderson

“On March 2, the Joffrey paid tribute to the Rev. James Cleveland with the season’s only performance of “Touch Me.” Mr. Cleveland, a clergyman and gospel singer, died on Feb. 11; he led the Charles Fold Singers in the recording that accompanies this solo by Mr. Arpino.

“Touch Me” is a plea for divine guidance, and it received a fervent performance from Edward Morgan. From the waist down, he wore a long gown designed by Geoffrey Holder that emphasized the work’s religious nature. Yet he was bare from the waist up. Rather than looking incongruous, the combination of ceremonial attire and no attire implied that Mr. Morgan portrayed a sinner who could hide nothing from God. Mr. Morgan began the solo as a penitent. Before it was over, it was obvious that he was also a celebrant.”

Washington Post – October 11, 1989 By Alan M. Kriegsman

“Touch Me,” an Ailey-esque solo to gospel music by the Rev. James Cleveland, in an impassioned performance by Edward Morgan.


LEFT  Ballet: Two-A-Day
Choreographer: Gerald Arpino 
Dancer: Elizabeth Parkinson, Edward Morgan
Photo: Herbert Migdoll – 1989

New York Times – 1989 By Anna Kisselgoff

“Elizabeth Parkinson, leggy and in white tails, led a male chorus in ”The Seven Society Swells” in which Edward Morgan stood out with his baton twirling.”


Ballet: Jamboree “Lone Star Gent”
Choreographer: Gerald Arpino  Dancer: Edward Morgan
Photo: Herbert Migdoll

Chicago Tribune –  May 13, 1985 By Richard Christiansen

“With Edward Morgan leading the festivities as a high-kicking, fast-twirling master of ceremonies, Arpino brings on his young virtuosos and lets them loose to a brassy commissioned score for orchestra, harmonica, banjo and taped recordings by Teo Marcus.” 
New York Times – 1985 By Anna Kisselgoff

“After the bluish curtain rises, we see our first live cowboy, Edward Morgan, dancing exuberantly across the stage”


Ballet: Trinity Choreographer: Gerald Arpino 
Dancer: Edward Morgan Photo: Herbert Migdoll – 1990

Chicago Tribune – March 18, 1990 By Sid Smith

Edward Stierle, though only 21, is already a crowd-pleasing, sensational dancer, teaming up with unforgettable gusto with the lanky, lightning-quick Edward Morgan in “Trinity,“ an immensely enjoyable revival of Arpino`s 20-year-old highly energetic 1970 rock ballet.

New York Times – 1989 By Jennifer Dunning

“Edward Morgan, who personified the ballet’s theatricality.”

New York Times – 1982 By Anna Kisselgoff

First and foremost among those with a new interpretation is Edward Morgan, in Christian Holder’s original role. Joy, rather than spirituality, exudes from his every movement. He plays straightforwardly and disarmingly to the audience. The shape of his dancing is not always what the choreography calls for, but there is a tremendous high-kicking dynamism that allows Mr. Morgan to make this part very contemporary. In his own way, he has updated it.

New York Times – 1983 By Jack Anderson

“Edward Morgan was a happy-go- lucky leader of the first movement”


Ballet: Trinity
Choreographer: Gerald Arpino 
Dancers: Edward Morgan, Mark Goldweber
Photo: Herbert Migdoll – 1990

New York Times – 1991 By Jennifer Dunning 

“There was also standout performing in the afternoon and evening from Edward Morgan as a glittering, sweet-tempered King of the Carnival”