Oregon Ballet Theatre Needs Your Help!

SUPPORT OREGON BALLET THEATRE AND KEEP THE ARTS THRIVING IN PORTLAND!

Oregon Ballet Theatre needs to raise $750,000 by June 30 or there's a real possibility that this nationally-acclaimed arts organization will have to shut its doors.

Whether you're a fan of ballet, a supporter of the arts, or a Portland resident, you know how important it is to keep the city's arts and culture alive and thriving. Portland can't afford to lose this institution. The loss would be devastating for the city, even for those who have no interest in ballet. Now is the time to help. There are so many things, both big and small, you can do.

DANCE UNITED Benefit Performance in Support of OBT



1) If you can, write a check or use your credit card to make a contribution. Click here to donate.

2) Buy tickets to the season finale program: RUSH + ROBBINS, featuring Christopher Wheeldon's RUSH and three ballets by American dance icon Jerome Robbins. June 5 - 7 at Keller Auditorium. Call 503.2.BALLET or go online.

3) Buy tickets for DANCE UNITED: A Benefit Performance for Oregon Ballet Theatre, featuring performances by leading dancers from North America's most prestigious dance companies including New York City Ballet, Boston Ballet, San Francisco Ballet, The Joffrey Ballet, The National Ballet of Canada and many more! One night only - June 12 at 7:30pm. Program details here.
Call 503.2.BALLET or buy online.

4) OBT is organizing an online auction to help raise money. Maybe you have something to donate, or maybe you're in the market to buy.

5) Share the message with your friends, family, or coworkers. Tweet for OBT, donate your Facebook Status, post a MySpace Bulletin or write about us on your Blog! Let everyone know OBT is important to you!

For more reading about the company and the dilemma it currently faces, please check out the links below:

OBT's WEBSITE

THE OREGONIAN ARTICLE 5/28/09

OBT PRESS RELEASE 5/27/09

Tina LeBlanc's Farewell Performance, 5/9/2009

Tina LeBlanc's Farewell Performance
San Francisco Ballet
Saturday, May 9, 2009, 8PM

After 17 spectacular years with San Francisco Ballet, Tina LeBlanc marked her farewell with an emotional and technically stunning program last Saturday. LeBlanc has anchored this company with her effortless technique, and pure, truthful style, and the audience sent her off in regal fashion, tossing flourishing bouquets of lilacs and roses while rising to its feet in rousing applause. Ballet clips and reflective interviews with other dancers, colleagues, and LeBlanc herself were interspersed throughout the evening, and these added a warm, introspective look into LeBlanc’s long career. Maybe the ballet will put these special treats up on the website for all to see?

On a personal note, I met LeBlanc a little under eight years ago. Fresh out of college, I got my first real job and at San Francisco Ballet not less. The summer before I had interned with Boston Ballet’s press office, but then most of the dancers were on summer break. I rarely interacted with the dancers in Boston, but at SF Ballet, they were everywhere: approving photos, giving interviews, taking class, talking on their cell phones, doing their hair in the elevator, and trying on pointe shoes. Just 21, I was understandably nervous about interacting with the pros, but on one of my first days, LeBlanc came by my workspace, radiating a tender friendliness, and introduced herself. If I could have, I would have hugged her right then and there… The next two years at the ballet moved at high speed, but LeBlanc’s genuine smile and down to earthness continued to stick in my mind as one great constant, both on stage and in person.

Saturday’s performance was no different. She danced effortlessly in George Balanchine’s “Tchaikovsky Pas de Deux.” Partnered by Gonzalo Garcia, one of her many great, former partners (who is currently dancing with New York City Ballet), LeBlanc stunningly floated through quick hops into attitude and swift pirouettes, all while looking like she was skipping across a meadow instead of powering through extremely technical choreography.

As a contrast, her duet with Griff Braun (on loan from the Lar Lubovitch Company) in the “My Funny Valentine” excerpt from “…smile with my heart,” showed that even without pointe shoes, she’s still a force to be reckoned with. As she curled herself around Braun, she slowly drew a heart around his chest, but later brought out angst, passion, and admiration without being overdramatic or satirical as she and Braun delved through the poignant and musical choreography, accompanied by the stirring notes of David Kadarauch on the cello and Michael McGraw’s piano. The adagio from Helgi Tomasson’s “Sonata” proved women can wear white unitards at any age. Or at least if you’re Tina LeBlanc. Tomasson created “Sonata” after the death of a female friend, but as LeBlanc waved her arms towards a reaching Ruben Martin as she boureed off the stage, it felt more like transformation and evolution, not any defined-in-stone ending. Fittingly, the pas de deux and finale from Balanchine’s “Theme & Variations” provided a large corps de ballet processional and tribute to LeBlanc, which is the least that anyone could ask for. Partnered by Davit Karapetyan, LeBlanc danced through the final steps with tears in her eyes, officially saying goodbye to the stage and hello to the next chapter of her illustrious career.

The evening, though, wouldn’t be compete without numerous bows, a sincere smile, and an onstage tribute including former partners, more recent company members, colleagues, and family. While sad, the plentiful standing ovations proved that LeBlanc has touched many dancegoers, young and old. Here’s to her as she continues her journey both personally and professionally.

Tina LeBlanc and Gonzalo Garcia in Balanchine's Tchaikovsky Pas de Deux.
Tina LeBlanc and Griff Braun in "My Funny Valentine" from Lubovitch's ...smile with my heart.
Tina LeBlanc taking her final bows.
All photos © Erik Tomasson

SFB, Program 8, 4/28/2009

San Francisco Ballet
Program 8
April 28, 2009, 8PM

I’m always a little sad at the end of the ballet season. As an audience member, seeing dancers attack new roles, revisit old ones, and expand their performance range feels fulfilling in some strange and usual way. And each season tends to be different, with various dancers rising to the occasion. These intricate developments can’t be predicted, but they’re sort of like the chili you make on a cold and rainy day: dependent on the ingredients you have at the time, heating time, and a little bit of luck. With this in mind, I watched San Francisco Ballet’s final program of the season (not including Tina LeBlanc’s farewell performance next Saturday evening) with a satisfying hunger in my belly.
Jorma Elo’s “Double Evil,” which premiered last season as part of the New Works Festival, shone brightly here as the evening’s closer. The work features odd quirks such at the women‘s derrieres pushed out behind their abnormally slanted tutus as they frequently stared ahead at the floor instead of up at their partners or the audience, but the slinky and peculiar movement using jagged arms, unexpected lifts, and what might be considered awkward yet incredibly inventive, almost nerdy choreography all came together in a whirlwind 27 minutes. The music flips back and forth between the quieter music of Phillip Glass and motivating percussion of Vladimir Martinov, and as it did, the eight dancers propelled themselves forward, using large bouts of momentum to continuously push ahead while still looking beautifully pretty. All of the dancers performed well, but especially Elana Altman and Pierre-François Vilanoba, who twinkled in the opening duet; in addition, she continues to amaze me with her various strengths and movement diversity. “Double Evil” may not have made a huge dent in the grand scheme of ballet, but Elo’s unique movement style and structure are both entertaining and imaginative nonetheless.
Alexei Ratmansky, heralded as the next big thing in choreography, delivered a confident yet not too original work entitled “Russian Seasons,” which debuted in 2006 via New York City Ballet’s Diamond Project. Meant to showcase the real goings-on amongst a group, Ratmansky produces an introspective dance that intends to bridge the delicate with the overly dramatic. With the 12 dancers adorned in peasant-like jewel tones, the six pairs moved gracefully through this lengthy endeavor. Lorena Feijoo displayed her soap opera alter-ego as she delved through the work, seemingly tormented, but Yuan Yuan Tan didn’t overdo it as the bride-to-be as she wrestled with her impending marriage and the loss of personal freedoms. It’s unusual to see a cast including nine principals in one place, but soloists Hansuke Yamamoto and Elizabeth Miner, and corps member Isaac Hernandez all held their own and then some, saying a lot about the company’s depth and capacity. The score, Leonid Desyatnikov’s “The Russian Seasons” provided a moody undercurrent, complete with live vocals from mezzo soprano Susana Poretsky. But none of this could save “Russian Seasons” from feeling unusually overdone.
Additionally on the bill was Yuri Possokhov’s “Fusion,” also reappearing after the New Works Festival. No doubt it’s a fun piece, with new age-crossed-with-jazz accompaniment by Graham Fitkin and Rahul Dev Burman, but Possokov tended on the literal side as he explored his transition from dancer to choreographer. With a corps of four men often dancing in synch or canon and dressed in hats, deep v-necks, and long skirt/pants ensembles (all white), their movement often became hokey and expected as they weaved through the rest of the dancers. The eight principals, though, flew through the air at sonic speeds, whipping their bodies around and about, and this peaked my interest. Garen Scribner, especially, had an instinctive way of connecting the steps, making it look not like twelve different positions, but one remarkable and ever-continuous journey from point A to B.

April is one of those months that is traditionally filled with dance. Many smaller companies tour, the bigger ones are wrapping up their home seasons, and the month’s end hosts National Dance Week in cities and towns all across the country. With the economy a looming question mark at everyone’s dinner table and donations to non-profits dropping, we can’t quite guess what next year’s arts season will bring. With the regular season wrapping up, San Francisco Ballet’s offerings this year have, overall, been strong and sure. The quality of the dancers has been dependable, even with multiple big names injured for most of the run, and many soloists and corps de ballet dancers have risen to the occasion, displaying bright and hidden talents. Here’s hoping that our arts organizations, both large and tiny, can recover (financially and, in SF Ballet’s case, health-wise) from what is assumed to be a difficult few years in the making.

Sarah Van Patten and Garen Scribner in Elo's Double Evil.
San Francisco Ballet in Ratmansky's Russian Seasons.
Maria Kochetkova and Benjamin Stewart in Possokhov's Fusion.
© Erik Tomasson

SFB, "Jewels," 4/25/2009

San Francisco Ballet
"Jewels"
April 25, 2009, 8PM

George Balanchine’s “Jewels” is well regarded for its homage to modern ballet’s roots. This plotless ballet, which debuted in 1967, is comprised of three abstract sections: “Emeralds,” “Rubies,” and “Diamonds” to represent France, the US, and Russia respectively. While the choreography may not be groundbreaking, dance aficionados still praise “Jewels” for its wide range of emotions and for being one of Balanchine’s timeless ballets. Often presented in parts, the ballet as a whole is rarely seen on stage outside of New York, but our fine city is sparkling this week with San Francisco Ballet’s superb take on “Jewels.”

Normally, I prefer the sultriness and pizazz of “Rubies,” but Sofiane Sylve’s take on the lead swan-like principal role in “Diamonds” has me thinking otherwise. Sylve danced the pas de deux with a pure, unaffected grace and fragility that left me gasping for breath by the end. Her partner, Pierre François Vilanoba, matched her as best he could, but in “Jewels,” as in most of Balanchine’s work, the majority of the focus is on the women. The demi soloists shone brightly, including Lily Rogers and Jennifer Stahl, and Quinn Wharton, a tall, sandy haired fellow, danced with a kingly presence. One of the things that differentiates “Diamonds” from the other two sections is the big wow moment when the corps enters, sweeping its feet across the stage with the stark brightness of the cream colored costumes radiating simplicity and elegance, and this time was no different. The only caveat I had was with Tony Walton’s white lite-brite/scatter plot effect across the back scrim (which continued in corresponding colors through the other two sections). Sorry, but I’m not a fan. Please bring back the Tiffany blue background and extravagant chandeliers, I beg of you.

Elana Altman devoured the stage as the tall girl in “Rubies.” Yes, Vanessa Zahorian proved she’s more than just everyone’s technically amazing whiz kid with her coy hip action and flirty romp with the compact yet powerful Pascal Molat, but Altman showed she’s got the chops to play with the big kids. At one point, she lunged into a deep grand plié in second (for all those non-technical peopleout there, a squat) with her arms held high above her head in a rising V, and all eyes were on her. This steely dancer has been refining this role for a few years, and her mettle showed.

“Emeralds,” as the opener, is velvety and supple, with wrists crossed at times like sylphs and a shy or demure quality lurking underneath. With a score by Gabriel Fauré, the dancers lightly skipped and waltzed. Early on, Lorena Feijoo, joined by guest artist Seth Orza (on loan from Pacific Northwest Ballet) made her slightly nontraditional mark on Violette Verdy’s role. Feijoo played the role as a young lover, displaying at times lust, sadness, grief, and contentment. It was an interesting interpretation, but I think I prefer the more aloof, non-narrative portrayals that I’ve seen in the past. Yuan Yuan Tan, however, looked spellbinding in Mimi Paul’s role, with her feet dripping under her as she quietly tip toed across the stage with her arms melting about in the air around her. Quiet and comforting, Tan seemed almost motherly, as if she were ready to wrap her arms around her partner, Damian Smith, and rock him ever so softly to sleep.

Elyse Bourne staged “Jewels,” and additional coaching was provided by several originators, including Mimi Paul, Violette Verdy, and Suzanne Farrell, and this high quality showed. However, Haydee Morales’ costumes (on loan from Miami City Ballet) were loud—the stone piece thumped and plunked as the dancers jumped and kicked--, and the added percussion was neither needed nor wanted. But I’ve got to wonder, if “Jewels” was choreographed now, would Balanchine have changed things? Perhaps the US would be sapphires to represent our blue collar history. Maybe he’d add a tribute to Japan or England or Spain. We’ll never know, but it’s fun to dream about, even for a minute or two.

The program continues with a wide range of casts, many of which should be impressive debuts for some of the company’s most promising young soloists and corp members. And if you happened to catch “Jewels,” you might just find a diamond (or a ruby or emerald) in the rough.

Sofiane Sylve and Pierre-François Vilanoba in Balanchine's "Diamonds."
Elana Altman in Balanchine's "Rubies."
Photos © Erik Tomasson

SFB, Program 5, 3/18/2009

San Francisco Ballet
Program 5
Wednesday, March 18, 2009, 7:30PM

Hearing the name “Mark Morris” may give dancers reason to jump for joy or cringe and run. Taking a master class with him requires concentration and a sense of humor, while dancing any of his modern or ballet works calls for impeccable musicality and a deep knowledge of how to curve space and time around quick turns and angled high-flying legs. With this in mind, it’s no surprise that Morris and San Francisco Ballet have experienced a highly successful fifteen-year informal collaboration with Morris’ ballets often showcasing the company’s dancers at their best and brightest.

Program 5 of this year’s season brought of three very different works, all enjoyed within a two-hour span. “A Garden,” an intertwining kaleidoscope of patterns and groupings, blends spiral movements with neat arches of the back and arms. Motifs, like a hip roll, return throughout, but Morris’ positions never look dull or overworked. With the women in black boatneck leotards and skirts, and the men in rust-colored polo shirts and black pants, the focus becomes the pairings and unpredictable yet eye-catching movement. Martyn Garside lept through the air with clear, crisp limbs and plushy feet and towards the end, Vanessa Zahorian and Davit Karapetyan shared a lovely duet in the Menuett section.


“Joyride” crams in large, expansive movement highlighted by Isaac Mirahi’s shiny, metallic unitards. Counting along with John Adams’ non-instinctual score drove my brain crazy, so who could only know what was whizzing through the eight dancers’ heads as they rapidly moved from one beat to the next. But they never paused for longer than a second, pacing themselves along Morris’ ode to possibly random yet utterly entrancing choreography. Garen Scribner powerfully slithered through long, wide demi plies and turns, and Sarah Van Patten and Matthew Stewart paired well in the final duet.


Adding a lighthearted edge to the evening was “Sandpaper Ballet,” which is a guaranteed crowd pleaser. While the costumes may be a little odd, when the 25 dancers arrange in their box formation, we see expansive green hills against a partly cloudy blue sky. Quite an effective little visual. But “Sandpaper,” with the sleighbells, typewriter ding, and occasionally lost dancer, wavers towards the hokey without crossing the line. Dana Genshaft and Pierre-François Villanoba, creep through the pas de deux with genuine feeling, and Maria Kochetkova proved with heart she can do more than just the classics.

Serveral of the dancers, especially the women, appeared in multiple performances this evening. The regal Elana Altman, in “A Garden” and “Sandpaper Ballet,” continues to dance from her soul, and Erin McNulty, a long-time corps de ballet member, stood out in the same ballets. McNulty has always been dependable, but this season she’s added a greater sensitivity and joy to her performances, and she’s a pleasure to watch. Elizabeth Miner, ever so musical, demanded attention in “A Garden” and “Joyride.” Morris’ “Sylvia” helped push her to the forefront, and she looks incredibly comfortable floating through his movement.

The SF Ballet Orchestra, conducted by David LaMarche (“A Garden” and “Sandpaper Ballet”) and Martin West (“Joyride”), sounded lovely during the three very different scores, and it’s impressive that they can change genres so quickly from more traditional to bang-blast-boom to ticky and tocking with the best of ‘em.

The evening showed that Mark Morris isn’t growing old or boring, and neither is San Francisco Ballet. If fact, they seem to bring out the best in each other.

San Francisco Ballet in Morris' Joyride.
San Francisco Ballet in Morris' Sandpaper Ballet.
© Erik Tomasson

SFB, Program 4, 3/12/2009

San Francisco Ballet
Program 4
Thursday, March 12, 2009, 8PM

With “Swan Lake” packed up, San Francisco Ballet is churning out several mixed bills, and last night’s opening of Program 4 presented timeless works and a more recent, yet questionable, addition.

Antony Tudor’s “Jardin Aux Lilas” melds intricate emotion and circular, unrestrained movement into a compact spin through love, lust, and gutrenchingly difficult life choices, all at a moonlit garden party. “Jardin” moves through streams of consciousness, throttling forward as Caroline, danced with raw emotion by Lorena Feijoo, wrestlesbetween her future and her heart. Sofiane Sylve played coy and jealous, showing added dimension as the strong yet possessive mistress of Caroline’s stoic husband-to-be, Pierre François-Villanoba. This marriage of convenience doesn’t seem convenient to anyone, really, but before Caroline and The Man She Must Marry walk down the aisle, she and her lover, Ruben Martin, share a passionate but unresolved goodbye. Tudor’s movement still rings fresh, some 70 years later, and violinist Roy Malan’s tearful and discontented final note rang true, reminding me that not all choices are for love and happiness, but sometimes for some other grand purpose.

Balancing “Jardin’s” sorrowful tone was Jerome Robbins’ “The Concert,” set to the music of Frederic Chopin, and staged by Jean-Pierre Frohlich. Sarah Van Patten’s hammy Ballerina immediately caused the audience to break out into boisterous, unapologetic snorts with her adoration and forceful slap-turned-bear-hug of Michael McGraw’s grand piano, and the good times just kept rolling with Erin McNulty’s prissy wife and Pascal Molat’s uncommitted but hysterical husband. The rest of the cast didn’t disappoint either, with the corps of women journeying through a side-splitting lesson on timing and a few very obvious and appreciative glances at ballet’s extremes. I’m curious to know what other casts might do with this special work, especially Vanessa Zahorian as the Ballerina. Comedic timing worthy of “Whose Line is it Anyway?” and first-rate ballet aren’t normally thought of in the same vein, but maybe choreographers should rethink things because “The Concert” was rip-roaring fun and, again, like “Jardin,” relevant and highly enjoyable years after its debut.

Seeing these two after Helgi Tomasson’s encore of “On a Theme of Paganini” made it even clearer that Tomasson, while a wonderful and well respected artistic director, isn’t meant to choreograph. Last night, I scratched my head, trying to figure out why “Paganini” returned, and my gut tells me that if it were any other choreographer, it would have been shelved or majorly retooled. In “Paganini,” Tomasson’s ballet vocabulary mixes traditional with those associated with George Balanchine: 180 degree kicks, open hips, and flexed hands. He also leans on awkward, jagged karate-like jumps and, while they’re certainly unique, they’re not eye pleasing or consistent, which, combined with the large sections of unison and lack of emotion or impetus, tended to make the dancers, from the principals to the corps, look messy and hesitant. The high point of “Paganini” came in the packages of the smaller, focused sections like the pas de deux featuring Maria Kochetkova and Davit Karapetyan in a tender moment of quiet retreat. Nice yes, but four minutes couldn't ease the pain.

“Jardin aux Lilas” and “The Concert” alone are worth the price of admission, and I hope both return next year. They’re oldies, but goodies.

San Francisco Ballet in Robbins' The Concert.
© Erik Tomasson

SFB, Swan Lake, 2/24/2009

San Francisco Ballet
“Swan Lake”
Tuesday, February 24, 8PM

San Francisco Ballet is known more for its ultra-cool contemporary works than the evening-length conventional story ballets, but Artistic Director Helgi Tomasson has invested a lot of time and money into a spectacular new full-length marvel that is sure to amaze everyone. And while “Swan Lake” has seen multiple incarnations-- including traditional white feathers, a corps de ballet full of beefy men, and techno swan lake on ice--, this most recent version tastefully merges the best of the old with the swankiest of the new.

One of the most streamlined additions is the Prologue, which Tomasson has added to give more depth behind why Von Rothbart, the evil sorcerer, kidnapped and transformed Odette into a swan by day and an abducted princess by night. While short, the prologue provides succinct backstory, necessary for those new to the story or ballet and appreciated by “Swan Lake” veterans.

On Tuesday, Tina LeBlanc, who retires this May, danced the dual role of Odette/Odile with such confidence and emotion. Each step, attitude, and pirouette were so achingly perfect, yet it was her expression that hit a nerve for me. LeBlanc’s focus is never to just dance the choreography; there’s always something more, something grander and intricately divine emoting from within on stage, and this swan princess couldn’t have been anything more beautiful than on Tuesday. Her Odette blended just the right amount of shyness and affection, while Odile tipped the scales, dancing sultry and bold. Especially as Odile, LeBlanc’s fighting personality showed through, checking off 30 lovely fouettes after tearing her ACL less than two years ago.

Joan Boada matched LeBlanc well as her Siegfried (but honestly, I always wondered if Siegfried needed glasses… even in Act III, Damian Smith’s evil Von Rothbart still looked like a greasy crow, even under that gunmetal grey Lagerfeld-inspired coat. Really, Siegfried! Get a clue!). Unfortunately, Tomasson’s choreography for him, especially in the first act, didn’t give me any good reason to root for him. Sure, he’s friends with townspeople of all socio-economic levels, so kudos to him, but his solo at the end of the act left me with a feeling of “so what?” He can whip out some nice jumps, but, really, why should I care about his happiness? But the remainder of the act featured festive dancing, especially in the pas de trois, which featured lovely hops and leaps from Frances Chung. Even the couple behind me were humming as the peasants linked hands and twirled.

Probably one of the most jaw dropping scenes in ballet is Act II of “Swan Lake,” where 30 swans enter, one by one, with their arms stretched, lightly hopping in arabesque. The row of swans continues to get longer, wider, they fan out, and the stage is all of a sudden filled with a sea of feathered friends. SF Ballet’s Act II doesn’t change much of that here, but adds a massive volcanic rock that measures 56 feet long and 14 feet high placed underneath an immense, golden full moon. Combined with wispy fog, cap-like swan headdresses, sparkling and chic tutus, and strong corps de ballet (including several handfuls of advanced-level students and trainees), it all made for an intensely stunning visual extravaganza. This production was Jonathan Fensom’s first foray into ballet, and the theater-based scenic and costume designer got just about everything right and then some. I especially enjoyed his amber stairway in Act III, which effortlessly descended from the heavens, and throughout the evening, the costumes didn’t look fussy or dowdy, something that many story ballets tend to rely on these days.

This “Swan Lake” has also been brought into the 21st century, technology-wise. Sven Ortel’s projection and video design let us move from daytime to fluffy rose-hued clouds to a cloudless night with ease. Not so technically sound, though, were the flying swans that froze for a second mid-wing flap against the back scrim. But that may have been the only noticeable technical glitch in an intricate evening full of delights.

Other standouts of the evening included the petite and fun-to-watch Clara Blanco as both a cygnet and Neapolitan princess, and Frances Chung, Dana Genshaft, Garen Scribner, and Hansuke Yamamoto as the Russian during the ballroom scene. Lily Rogers also had a bang-up evening as a swan maiden and the fiery lead in the Spanish variation. And I love any chance to see Damian Smith, especially in the character roles. His Von Rothbart evoked both slimy and depressing, and when he bent over and slowly flapped his arms, swan-style, I almost felt sorry for the crazy dude. In addition, the SF Ballet Orchestra, led by conductor Paul Hoskins, sounded strong and evocatively romantic, yet at times during Acts II and IV, intentionally slower than usual. Perhaps Tomasson has a reason for this, but I can’t understand why he’d want the large corps sections to drag on.

As a whole, though, SF Ballet‘s “Swan Lake” has got a bunch of new without throwing out too much of the old. It’s a story that’s stood the test of ballet time, and this infusion of technical magic and storytelling have added a well deserved breath of fresh air.

San Francisco Ballet in Tomasson's Swan Lake.
© Erik Tomasson