dance in san francisco

March 24 through today!

2010-04-12T17:07:00.000-07:00

I've been really behind with posting links to the San Francisco Appeal. Eek and sorry! But if you want to read everything in real time, the best way to do that is to add the Appeal's RSS feed (or just mine, if you'd like) to your reader (or whatever you use to manage blogs, rss, etc.).

On March 24, I wrote about dance anywhere, an annual event where "people [dance] wherever they are at the same time: noon here in San Francisco, 3PM in New York, 8PM in Paris, etc."

On March 31, I spoke with Aline Wachsmuth, a dance/collaborate with LEVYdance who says that "[b]eing a dancer in this particular company has given me room for growth as a mover, a choreographer, a dance viewer, and a person. I'm really grateful to have such an amazing collaborative relationship with Ben [Levy]."

And on April 7, I previewed Stephen Pelton Dance Theater's The Dance Hour. Pelton said that, "I chose the framing device of a radio hour, as a way of prompting the audience to expect varying points of view. So it is a very eclectic program. But as many of the performers have been working together for some time, it feels as if the ensemble really shines as a whole."

Today, I reviewed SF Ballet's Program 7. About Jerome Robbins' The Concert, I wrote, "The 21 dancers, clad in powder blue leotards, tights, and shoes, funnel in to see a concert, and from there we zoom off with them into music-inspired daydreams."

SF Ballet's The Little Mermaid 2010

2010-03-22T16:06:00.000-07:00

I reviewed SF Ballet's The Little Mermaid at the SF Appeal.

Excerpt:
Van Patten moved naturally through Neumeier's organic and earthy choreography, displaying her heart on her sleeve as she wrestled with confinement and social expectations. By the end, she looked emotionally wrecked (which here is a good thing), and the audience gratefully acknowledged that with several standing ovations.

The entire review is here.

dance flash @ the appeal: Q&A with chitresh das

2010-03-17T11:45:00.001-07:00

This week, I Q&A-ed Chitresh Das at the SF Appeal:

How did you two [you and Jason Samuels Smith] meet and what prompted this collaboration?

We met several years ago while practicing backstage at the American Dance Festival at Duke University. I started to dance and Jason said. "How can you do that with your bare feet?"

dance flash and review @ the appeal: hope mohr and sf ballet

2010-03-08T12:38:00.001-08:00

Two things from last week at the SF Appeal:

A Q&A with Hope Mohr:

"I made many detours away from the path of dancing, but I finally heard--and listened to--the voice inside that was still saying, "Dance!" I had to return to dance to be true to myself."

And a review of SF Ballet's Program 4 (which was held until this AM b/c of a backlog):

"It's almost like a battle: think Eminem in pointe shoes (oh gee, what an image), battling with his body instead of his mouth."

dance flash @ the appeal: sf ballet 2010, program 3

2010-02-17T13:21:00.000-08:00

Here's a quick little excerpt from my review over at the SF Appeal of San Francisco Ballet's Program 3:

Last on the bill was Theme and Variations, a tutu ballet that, for all except the main duo, focuses way too much on aquamarine and periwinkle (it's like My Little Ponies exploded onstage). With teal drapings and chandeleirs hanging from above, Theme and Variations is lighter than most Balanchine works, embodied with a pureness of soul that swoops across the stage as the corps begins their procession. But this ballet isn't for pussies; feet move with warp-10-like speed, bodies fly through the air, and astounding abs are required.

Yuan Yuan Tan and Anthony Spaulding in Balanchine's Stravinsky Violin Concerto.
© Erik Tomasson

dance flash @ the appeal: sf ballet 2010, program 2

2010-02-12T13:20:00.000-08:00

Maria Kochetkova in Robbins' Opus 19/The Dreamer. © Erik Tomasson

Here's an excerpt from my review of SF Ballet's program 2.

Maria Kochetkova, a tiny angel of a dancer, entered with giant windmilling arms and scissor-kicking skips, and as the piece progressed, she continued to pull Karapetyan on a string through his deep and whimsical trance as Franklin D'Antonio's violin finely soared above the orchestra.

See the full review at the SF Appeal here.

dance flash and other stuff @ the appeal: 2/2010!!!

2010-02-10T17:13:00.000-08:00

yours truly is truly busy this week. i reviewed "beyond the pole," a mockumentary about two british dudes taking their environmental crusade to the north pole yesterday. it has nothing to do with dance; wait, scratch that. there are two scenes at a salsa dancing class! today i previewed "love everywhere," a multi-location dance and theater piece that kicks off at city hall on friday at noon. still to come: two, albeit brief, reviews of sf ballet!

beyond the pole excerpt:

The film opens up with one of the funniest parts: Mark and Brian explaining the why behind hiking, training, and ferrying (no planes here!) to the North Pole. They banter back and forth and finally show off what's under their shirts: more shirts. The tees say, "Don't be impotent. Be important." Ah, boys.

full review is here.

love everywhere excerpt:

Chong Shuch says, "I feel like [Love Everywhere] is just a really special thing. You know, this is the six-year anniversary of when they started issuing the same sex marriage licenses, so this piece is... really joyful and very much a celebration of those marriages, like a Valentine's Day celebration of love in this huge public space where so many people have been married. For Friday, I think it's going to be really fun..., and I hope that the performance will bring to the forefront this whole marriage equality issue without being political about it. I hope we can put some pictures and images out there in the world that bring life to that issue. "

full preview is here.

in addition, i got a chance to see sean dorsey's work at dance mission this week, and i was really blown away. so much so that i wrote to my undergrad's dance, gender studies, and glbt? heads and insisted they host him in some shape, form, or manner.

dance flash @ the appeal: sean dorsey dance

2010-02-04T15:31:00.000-08:00

This week at the SF Appeal, I spoke with Sean Dorsey, who is recognized as the nation's first out transgender modern dance choreographer.

Excerpt:

My whole identity was very much wrapped up in being a traditional activist and community organizer, and I really struggled for many years with the idea of giving myself over to being a working artist. It felt like it would be selfish, but it was through the process of being in dance school and starting to make work that I got that actually this was the way that I could, I think, affect the most change in my community: through my cultural activism as a choreographer and artistic director.

For the full interview, go here.

Photo by Lydia Daniller

dance flash @ the appeal: 2010 swan lake

2010-01-27T16:09:00.000-08:00

This week, I reviewed SF Ballet's Swan Lake for the SF Appeal.

The prologue, opening to the recognizable woodwinds of Tchaikovsky's score, gives us a taste of what's to come, introducing us to the lovely princess Odette as she's entrapped by Anthony Spaulding's Hulk-crossed-with-Golem (at least in character. In my head, I heard him grrring and grunting as he whispered sadly, "My precious!") Von Rothbart. Is that his full name? Do his friends call him Von? I haven't a clue. But no matter his moniker, he magics Odette into a swan by day and a swan princess by night, and the audience sees this transformation through a projection against a light-colored scrim...

The full article is here.

Photo © Erik Tomasson

dance flash @ the appeal: sf ethnic dance festival auditions!

2010-01-22T11:46:00.000-08:00

go check out awesome ethnic dance this weekend! bonus points if you try to conduct exit interviews...

This Saturday and Sunday mark the second weekend of the San Francisco Ethnic Dance Festival auditions at the Palace of Fine Arts. Think of it like a local, multicultural version of "So You Think You Can Dance" auditions, minus the hot tamale train.

the full article is at the san francisco appeal.

dance flash @ the appeal: women on the way

2010-01-13T14:47:00.001-08:00

This week at the San Francisco Appeal, I focused on the Women on the Way Festival.

It's an empowering celebration of boobs and hoo hahs at the Women on the Way (WOW) Festival, which starts this weekend and continues through the end of the month, and with 19 vastly different performing arts groups (theater, dance, spoken word, comedy, and aerial work), this festival covers a lot of ground. Artistic Director Mary Alice Fry says that Women on the Way tries "to help women break through to a place where they can recognize where their professional careers might be going and make a commitment to themselves."

For the entire advance, go here.

Photo of Sonya Smith & Dancers
by Lydia Daniller

dance flash @ the appeal: KUNST-STOFF's new space and NYE bash

2009-12-31T09:57:00.001-08:00

This week at the sf appeal, I've highlighted KUNST-STOFF's new arts space, which kicks off with a NYE open house.

The location may be "amazing," but this is one local who thinks that Adoniou has his work cut out for him. Located just east of the basement-located, florescent light-filled Marshall's, this mid-Market span has gotten loads of attention over a planned revitalization, but currently foot traffic tends to fall off once you hit 5th. Should the area flourish, Adoniou could have a major success on his hands.

For the full article, go here.

dance flash @ the appeal: Rhythm & Motion -- Legwarmers not required

2009-12-23T14:12:00.000-08:00

This past week I took a class at Rhythm & Motion to get a feel for their unique "dance workout" class, in advance of their free day of dance classes next Wednesday.

Fusing dance styles and eclectic music? A dance workout? This is gibberish, sort of like if someone said that Mayor Newsom had turned in his hair gel for pomade. Make sense, dammit! Well, to find out, I did what any hardworking dance writer does. I went and took a class.

For the entire article at the SF Appeal, go here.

dance flash @ the appeal: the christmas ballet

2009-12-17T15:28:00.000-08:00

An excerpt from my preview of Smuin Ballet's "The Christmas Ballet" at the SF Appeal:

Don't get me wrong; I love a good "Nutcracker." But what does it really have to do with Christmas? Is the underlying theme, "X-mas is all just a dream!" Or, heavens no, that there really is a magical Sugar Plum Fairy who can whisk you away at a moment's notice to a land filled with high fructose corn syrup and red dye #40, and that Jesus nursed on candy and coffee during his first night in the manger?

Either way, I was skeptical about Smuin Ballet's "The Christmas Ballet." The name slightly scares me. It's not the holiday ballet; it's focused on Christmas. Yikes. But I checked out the first half Wednesday afternoon at the company's dress rehearsal and now feel semi-reassured.

For the entire article, go here.

Photo by Smuin Ballet

Also, last week was hectic, and I didn't get a chance to post a link to my interview with Catherine Galasso. Here's an excerpt and link.

"Lightning Never Strikes the Same Place Twice" was selected to be presented at the 2006 Skena UP International Theater and Film Festival in Pristina, Kosovo, where it received the New Spirit award for most original outreach in theater. I'm a dance geek, so I have to admit, I don't know what "original outreach in theater" means. Would you help me out, in layman's terms?

I think the "original outreach" part was just a poor translation. It means, "Most Original," I guess. There were awards for "Best Director" and "Best Theater Show." I don't think they had ever seen anything quite as cross disciplinary as our "Lightning" piece, but they really liked it so they gave it this special award. Brandt Adams, who plays the lead in "Lightning," was awarded "Best Actor" which is hilarious because he doesn't utter a single word during the entire show! Brandt is definitely a great actor and an exceptional mover.

You're remounting "Lightning," which is based on the real-life story of Roy Sullivan, a man who was struck by lightning seven times during his lifetime. What drew you to his story?

Originally I wanted to make a piece about a character that goes on a quest or journey. Roy Sullivan's story seemed to fit perfectly. There is not a ton of biographical information available about Sullivan, but based on what I've read, it seems like he had a really hard time being close with the people around him. We made up new characters that are to exist in Sullivan's psyche. We use video sequences to tell the story of the real Sullivan, and to describe some of the medical consequences of a lightning encounter. The live sequences are an interpretation of Sullivan's hallucinations, and his love for an imaginary woman made of electrical cords.

OK, gotta ask, have you ever been struck by lightning?

Nope!

For more, go here.

dance flash @ the appeal: 2009 holiday dance schtuff, part deux

2009-12-03T08:41:00.000-08:00

here's an excerpt from this week's dance flash at the sf appeal:

...lastly, this is early, but hey, it's like a wasabi nut blend: a crazy idea that after a few bites, doesn't seem so odd after all. The Dance-Along Nutcracker is back for two days, letting everyone who's young at heart twirl and flutter about to Tchaikovsky's familiar score. This nut is presented by The San Francisco Lesbian/Gay Freedom Band. Founded by Jon Sims in the late 70s, the San Francisco Lesbian/Gay Freedom Band is the first openly gay music organization ever. But if you haven't gotten the picture yet, let me spell it out for you. This is no sit-in-a-seat-and-watch-two-hours-of-dance event. You're encouraged to dress up (this year's theme is the wild west--yeehaw!), dance about, and above all, have fun! Now throw on some chaps (and at least a matching thong, please), suit up the horse and buggy (er, Muni), and dance along, partner.

for more, go here.

Photo Credit: Jane Philomen-Cleland

dance flash @ the appeal: 2009 holiday dance schtuff, take one

2009-11-25T14:12:00.001-08:00

here's an excerpt from holiday dance schtuff, take one at the sf appeal.

"The day after Thanksgiving, you can stand in the 'I'm totally crazy, full, and sleepy' line at Best Buy at 4AM or hot-foot it to the 9AM cardio kickmyass class. Neither, though, may be as enjoyable as taking in ODC/Dance's 23rd season of 'The Velveteen Rabbit,' with its plush animal costumes and contemporary dance. If you're still feeling the after-effects of rum punch and soy nog, don't worry. 'The Velveteen Rabbit is narrated."

the full article is here.

dance flash @ the appeal: the sf hip hop dancefest

2009-11-18T17:06:00.000-08:00

(this photo is not doctored! that's the south korean crew last for one posing with secretary of state hillary clinton.)

This week's Dance Flash: the San Francisco Hip Hop DanceFest.

An excerpt:

Does an audience need to know their popping from their locking? Definitely not. These shows are meant to expose people to lots of different types of hip hop dance in a friendly environment. About the audience, Rosales says these are "not your everyday dance hip hop watchers... I love doing the show for our company because it's our time to expose ourselves to a new audience and a new demographic, and I think it's great... because it's our chance to really hit the spotlight for a second, you know, and get recognized for something that we've been doing for so long."

And Micaya says, "[Hip hop] is definitely mainstream now. I had a lot of battles, so to speak, when I first started the festival just by using the word hip hop. When I first started, you can imagine, 11 years ago, the first thing that came to people's minds was, "Are there going to be guns?" and negativity, and I was just like, 'Oh my god! You've got to be kidding me! Just come once, and, for the rest of your life, your mind will be altered about what this image of, back in the day, that word used to put in people's minds,' because it's so far from the truth of what artists are doing in the genre."

For the entire preview, go here.

dance flash @ the appeal: an interview with dv8's lloyd newson

2009-11-11T15:04:00.001-08:00

I interviewed Lloyd Newson, the artistic director of DV8 Physical Theatre, for the San Francisco Appeal. Here's an excerpt.

What does physical theater mean? Could you give me a little more information about how it's different from other forms?

We call it physical theater instead of dance theater because it's often driven by meaning as opposed to theater or dance. And because it's highly physical as much more than just talking heads, hence physical theater seemed appropriate.

[That was a short response. Maybe I won't push on that. I mean, we went round and round and round and finally the guy agreed to call me from England, the home of Posh Spice and Harrods. But is dance not driven by meaning?]

I was reading on your website that you're moving towards more text-based work as opposed to movement-based. Is there any specific reason for that?

Well, if you try just saying in dance, "This is my sister, " it's going to take you a long time.

Hmm...[Really. I said that aloud.]

For the complete interview, go here.

"To Be Straight With You": Image of Ankur Bahl. Photo by Matt Nettheim

dance flash @ the appeal: printz dance project

2009-11-04T15:37:00.000-08:00

this week's dance flash (at the san francisco appeal) focuses on printz dance project.

"While creating new dances and guest teaching here and throughout the world (like Ireland, Russia, New York, and Kentucky), PDP has been Printz' local expressive outlet. Reflecting on the past decade, Printz says, 'While I think the company has evolved and changed, I also feel like our core values and desires have stayed the same. And, unfortunately some of the 'bootstrap' financial struggles that we had early on, we still face today! On the flip side, there is a calmer approach to producing the home seasons than there was in the beginning; early on there are so many new things to figure out. At this point we have a better sense of how to organize it and make it unfold. That said, I love that each season is full of surprises that offer just enough newness to keep us on our toes.'"

read the entire preview here.

dance flash @ the appeal: not-so-spooky dance

2009-10-29T14:42:00.000-07:00

this week at the appeal, i focused on some smaller offerings.

"The word zambaleta means "a spontaneous chaotic street party'" and happens when everyone is actively participating, whether by playing music, singing, or dancing. San Francisco's new community world music and dance school embodies that spirit in both mission and name. Based at 19th Street and Florida in the Mission, Zambaleta, a non-profit, has just opened its doors. Offering a comprehensive program of world music and dance classes, Zambaleta aims to provide a new home for San Francisco's vibrant world music community.

To celebrate the launch of this new space, Zambaleta will be hosting some of the Bay Area's best world music acts, including the Brass Menazeri and the Japonize Elephants, this Saturday night with a giant Halloween Hullabaloo Benefit in Zambaleta's staggeringly massive dance hall. It'll be an exciting night complete with aerial dancers and clowns."

see the entire article here.

docfest @ the appeal: only when i dance

2009-10-27T17:11:00.000-07:00

This past weekend, I covered two documentaries at the SF Independent Film Festival's DocFest for the Appeal. Here's a link to my review of "Only When I Dance."

"'Only When I Dance' is a documentary that focuses on two teenagers in Brazil. Living in the favelas of Rio de Janiero, advanced ballet students Irlan and Isabela both train on scholarships at Centro de Dance Rio, located in an affluent part of the city. 'Only When I Dance' follows these two young dancers as they vie for the "next step"--scholarships to world-renowned training grounds--through international competitions.

Irlan is the dancer with the most promise. Naturally gifted, Irlan shows immense dedication, committing to school and ballet classes with the goal of becoming a professional dancer. These days, more boys are enrolling in ballet than 20 years ago, but still, it's not everyday that you see one with bendy feet, long and lean legs, incredible flexibility, and talent with a capital T..."

The entire review can be found here.

dance flash @ the appeal: an interview with alonzo king

2009-10-22T09:28:00.000-07:00

this week for the appeal, i interviewed alonzo king.

"I was wondering what kind of traits you look for when you hire dancers or look for dancers?

Well, I think that's really apt what you're saying because if you look at this physical universe, everything is based on the sphere, everything. Nucleus, radius, electrons, protons, the planets, the galaxies, they're all spherical, and so that same thing is inherent in the body, and you manipulate it by going from circle to straight line. And all those things you illustrated are part of developing movement structure.

In terms of looking for dancers, what I mentioned earlier is that the character is the bottom line because what you're looking at onstage is who people are. People dance their consciousness, and so who's brave, who's generous, who's loving, who's consciences, who's risk-taking. All the things we like in heroic people are the things I look for in a dancer because these are human beings, after all. So we're looking for the noblest kind of character.

You know it's inextricable that who people are is what you're watching move, and so if they're givers, if they're brilliant, it's going to be obvious. And the opposite as well. If they are selfish, if they're vain, if they're scared--all of that is apparent. I like people who are heroic, who have the ability to get lost in movement and not be self-conscious. Humility is a beautiful thing to see in dancing. Sincerity is something very rare to see, but beautiful when you see it in dancing. And we take it for granted that they've got a technique that is second nature. Yeah, so who people are."

you can find the entire interview here.

Photo by RJ Muna

dance flash @ the appeal: trolley dances

2009-10-15T17:27:00.000-07:00

this week's dance flash: trolley dances

"Picture this: you and your buds, post-40 minute wait at Tartine for the most delicious éclair ever, meet up at Dolores Park, check in with your "tour guide" at the statue of Miguel Hidalgo, and, along with the rest of your group, make your way, via foot and the J, through the Mission, Noe Valley, and Balboa Park, all while stopping along the way to see a wide variety of local dance companies and performers in site-specific works. The cost to you: $2 (your Muni fare)...

But what kind of dance will you see? SF-based Deborah Slater Dance Theater is a sure crowd pleaser, and you've got to feel giddy when watching the SF Merionettes Synchronized Swim Club whirl about in the pool. Former Urban Bush woman Amara Tabor-Smith's Deep Waters Dance Theater doesn't perform in water, but her movement and incorporated text tend to have a liquid feel to them. Knowing Kathleen Hermesdorf, a popular instructor, performer, and choreographer, expect the unexpected (and how can you not? In this video, she gives an interview sitting atop a stove). Also on the bill are Jorge Rodolfo De Hoyos, performance artist and dancer, and Rosamaria Garcia, and Trolley Dances' director Kim Epifano's Sonic Dance Theater. .."

dance flash @ the appeal: burning dance questions 101

2009-10-08T10:54:00.000-07:00

this week's dance flash is up at the appeal, and it's the beginning of a bi-monthly Q&A.

"Q: What's a tutu? And I wear an XXL, so where can I buy a fourfour?

A: Female ballet dancers may wear a tutu, aka a poofy skirt, in ballet performances. There are many different styles and lengths of tutus, but the one that you're probably thinking of is the really, and almost indecently, short one that's designed to show off a female dancer's intricate foot and leg work. Professional tutus (of all sizes) are custom-made, but cheaper ones can be purchased at dancewear stores."

for more, go here.

dance flash @ the appeal: smuin ballet's fall/winter season 2009

2009-09-30T17:04:00.000-07:00

this week's dance flash: smuin ballet's fall/winter season, which kicks off this weekend at the palace of fine arts.

"...Smuin's 'Medea,' follows a storyline that trumps even the juiciest of the original 'Melrose Place': there's love, lust, adultery, jealousy, rage, and mass murder. On Sunday, Susan Roemer's drama-queen Medea conveyed strength and a bald-Britney-wielding-a-baseball-bat-like craziness. True, I was saddened when she killed the Princess just steps from my feet, but minutes later, I was secretly rooting for her as Aaron Thayer's Jason met his demise. That debbie downer didn't last long, though, as the dancers took a short break and soon had me tapping my toes as they tossed their hats, twirled and waltzed across the floor, and strutted along to some of Frank Sinatra's best in Smuin's 'Fly Me to the Moon...'"

For the complete preview, go here.

Photo: Scot Goodman

dance flash @ the appeal: margaret jenkins dance company and who is paco gomes?

2009-09-23T17:14:00.001-07:00

this week's dance flash.

"This week, I'm slinging two vastly different events at ya. Why, you ask? Well, I have grand delusions that San Franciscans want to jam-pack their weekends with dance performances galore. Or I think you, Mr. Tall, Blonde, and Cute-in-that-Cuddly-Bear-Sort-of-Way, need a few extra opportunities to impress Ms. Right with your cultural know-how. Either way, let's add some spice to your social calendar..."

dance flash @ the appeal: dandelion dancetheater's MUTT

2009-09-16T14:14:00.000-07:00

this week's dance flash.

"Often times, I'm positive I've stunted my imagination. Cases in point:
The number of non-black work shoes that I own: Three
Did I rename my cat post-SPCA adoption? Nope
Years it took me to accept brown as a full-fledged color and not just what dirt looks like: 28

Thankfully, Eric Kupers and his local company Dandelion Dancetheater infuse out-of-the-blue originality where I would only contribute a dependable yet deplorable snoozefest. A while back, Kupers caused watercooler tittering with "The Undressed Project," a series of dances performed by Dandelion Dancetheater's wide ranging dancers of all shapes, sizes, and abilities. Oh, and the costuming included nada. That's right. Modern dance and dance theater in the buff. It proved to be quite the first-date night outing..."

dance flash @ the appeal: jesse hewit

2009-09-09T15:42:00.000-07:00

this week's dance flash.

"San Francisco's arts scene is thriving in venues both large and small. Case in point: Mama Calizo's Voice Factory, a petite space located smack-dab between SOMA and the Mission, will present Jesse Hewit's "Total Facts Known" over the next two weekends. MCVF seeks to nurture the development of queer performers, educators, and activists by providing them with artist in-residence programs and arts programming.

Over the past few years, Hewit has presented work across the city including CounterPULSE, The Garage, and The LAB. Don't expect post-modern dance or perfectly pointed toes and big leaps; Hewit isn't here to make pretty pictures. Instead, he takes bold visuals, everyday gestures, and life-inspired theater, and molds them into a contemporary tale inspired by Anne Carson's "Autobiography in Red." Carson's story, described by "The New York Times" as a "hybrid work of poetry and prose," retells the Greek myth of Geryon, a winged red monster killed by Hercules. Hewit breathes flesh and blood into Carson's story while investigating the connections between knowledge and ability..."

folawole's "exposition of the heart"

2009-09-02T12:12:00.000-07:00

my preview of folawole's "exposition of the heart" is up at sfappeal.com.

it's all very appealing

2009-08-26T12:49:00.001-07:00

quick, stop the presses! wait, do actual presses even exist anymore? by the looks of things, not for dance writing...

in addition to reviews at criticaldance.com, you can now find me at the san francisco appeal. weekly wednesday dance flashes start... now!

b.

Oregon Ballet Theatre Needs Your Help!

2009-06-04T10:15:00.000-07:00

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

2009-05-14T15:16:00.000-07:00

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

2009-05-04T10:32:00.000-07:00

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

2009-04-29T10:24:00.000-07:00

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

2009-03-26T10:02:00.000-07:00

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

2009-03-13T11:39:00.000-07:00

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

2009-03-02T16:07:00.000-08:00

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

Pappa Tarahumara @YBCA, 2/19/2009

2009-02-23T12:01:00.000-08:00

Pappa Tarahumara
"Ship in a View"
Yerba Buena Center for the Arts
February 19, 2009, 8PM

Japan’s Pappa Tarahumara, a dance-theater troupe, sailed about last Thursday in “Ship in a View,” creating bold images of remembrance while using intricate props to transform the stage at Yerba Buena Center for the Arts into an extraordinary, fantastical world.

Directed by founder Kiroshi Koike, “Ship in a View” pushes the abstract and imaginary, with the twelve dancers playing towards their strengths of operatic song, modern dance, gesture, and theater through sections that seemed like a series of fantastical clouds interweaving through dreams. The stage filled with blueish white fog, enveloping the centered wooden post and the audience in a 95-minute trance of swirling images and rocking emotions. And as a tiny ship embarked across the stage, we entered a world of water and motion. Various performers ran around the stage, wailed with heartbreak, and climbed the mast to look out towards the horizon, but “Ship” didn’t feel slapped together; on the contrary, the attention to detail astounded me. Koji Hamai and Ryoichi Isomoto’s simple yet elegant costumes fit well and looked to be made with extreme craft and care; all flattered and enhanced the presentation, especially those in light blue and citron at the conclusion, which, combined with Yukiko Sekine cool lighting design, created a wintery futuristic feel. “Ship” built slowly but surely, like the tortoise versus the hare, towards a grand, climatic finish, featuring twinkling lights hanging from overhead and a metal man with a flat screen face.

Koike’s vision along with the casts’ vast repertoire and choreographic intricacies seamlessly blended into a stunning and riveting event. The evening felt unexpected, but wildly refreshing, and Pappa Tarahumara provided a unique and enjoyable experience.

Photo by Sakae Oguma/Katsui Sato

six swans a'swimming

2009-02-13T12:42:00.001-08:00

SF Ballet has posted tentative casting for "Swan Lake," and boy, are there a lot of Odettes! Get your tickets quickly because they're selling like hotcakes.

SFB, Program 2, 2/3/2009

2009-02-04T16:13:00.000-08:00

San Francisco Ballet
Program 2
Tuesday, February 3, 2009, 8PM

San Francisco Ballet’s initial program may show off its dancers’ liquid limbs, but Program 2 displays their steely attack and strength.

William Forsythe’s “in the middle, somewhat elevated” uses stark shadows and a cavernous stage to display wham-bam dance paired with Thom Willems’ synthesized romp full of wrps and zings. Dressed in teal with additional black hip-slung cropped tights for the women, the dancers, below a suspended duo of gold cherries (hence, the work’s title), whizzed about in contortions and jagged angles while enunciating the in-betweens. This rollercoaster of a ballet featured 10 incredibly strong dancers who complemented each other so well that they delivered one of the most high quality events I’ve ever seen on the Opera House Stage. Vanessa Zahorian, the ever-dependable technician, showed muscle and power as she plowed through some intense pirouettes and partnering, and Sofiane Sylve, with her tight ringlet curls, proved that she’s “on” even when hip-jutting off balance. The dark haired and He-Man-like Simon Ball, joining the cast as a guest artist (thank you, Houston Ballet!), matched up with Katita Waldo and later Sylve, in two dynamic duets based on trust, guts, and impeccable timing. The cast also included Elana Altman, Frances Chung, Lorena Feijoo, Pascal Molat, Joan Boada, and Ivan Popov. Without much grandeur, Forsythe has showcased raw, abstract ballet at its best. And to think “in the middle” premiered in 1987!

The evening also included encore performances of Stanton Welch’s “Naked” and Val Caniparoli’s literary “Ibsen’s House.” “Naked” is filled with fun yet irrelevant choreography. This isn’t a dance to save mankind, but it was a pleasant opener for the evening. While Rachel Viselli seemed a little hesitant throughout, Elizabeth Miner and Pascal Molat more than made up for it with their spunky toe tapping. Molat, in particular, moves through space in a rare-to-find organic way, connecting phrases together beautifully so as not to highlight sections of eight or four. Instead, even with somewhat mundane choreography, his pristine movements follow a continuous build-up of energy that puts the dancing at the forefront while the choreography becomes an afterthought. Also, Frances Chung has built upon her spectacular performance last year (this time with Quinn Wharton), infusing more richness and emotion into the adagio with effortless partnering. Again, I wonder why this pair isn't singled out on the casting sheet like the other featured couples…

With the orchestra playing Dvoràk’s haunting score, couples surged ahead in “Ibsen’s House.” Set against Sandra Woodall’s set design, which could either be a giant floor-to-ceiling window covered in flowing white and black drapes or the bottom edges of a woman’s dress and petticoat (take your pick; they both could work!), the five women play out their gender roles and attempt to break free or face their hardships. Lorena Feijoo passionately led the crew as Hedda Gabler, and Clara Blanco has grown even more in her dress smoothing, don’t-put-your-arms-around-me Nora Helmer. Perhaps the most touching moment came from Katita Waldo’s Mrs. Alving and Davit Karapetyan in his debut as her son Oswald. She protectively wrapped her arms around him as he thumped his chest, as if a reminder of his impending death.

Speaking of death (which isn’t a hot topic on any writer’s to-do list), the Opera House seemed better filled than early last week, but I still spied empty pockets of seats throughout the orchestra. In this economy, let’s not forget to support our local arts organizations, both big and small, as they also weather the storm.

Vanessa Zahorian and Joan Boada in Forsythe's
"in the middle, somewhat elevated."
Lorena Feijoo and Quinn Wharton in Caniparoli's
"Ibsen's House."
All photos © Erik Tomasson

Japan Dance Now, YBCA, 1/29/2009

2009-02-04T09:55:00.000-08:00

Japan Dance Now
featuring Baby Q, Sennichimae Blue Sky Dance Club, and Nibroll
Yerba Buena Center for the Arts
Thursday, January 29, 2009, 8PM

Yerba Buena Center for the Arts, over the past few years, has developed into an innovative arts presenting powerhouse. Not only is most of their season eclectic and forward-thinking, but also the visiting companies continue to challenge audiences’ minds and souls. Thursday night’s presentation of “Japan Dance Now” promised a window into Japan’s modern dance landscape, and it delivered, mixing the slick and the wow with the huh.

Baby Q, led by founder/dancer Yoko Higashino and live electronic musicians including Toshio Kajiwara, gave us an excerpt from the cerebral “E/G – Ego Geometria.” The overarching work looks at the physical and metaphysical aspects of the space-time continuum. In this solo excerpt, Higashino moved across the stage abruptly at first while dressed in clunky heels and draped skin-colored stretchy fabric from the top of her head to her thighs. Without being able to see her facial expressions, the images became shapes without emotion. Early on, Higashino walked decisively amongst different pools of light, yanking her arms and bending as if held about by strings, and partway through, she pulsed from her abdomen, almost as if a giant earthquake was coming while the music grew more insistent with each thumpety thump. Across the back wall, angular and formulaic images popped up, but the projection was best used when showing nightvision-like video images of Higashino, especially as she started to move more towards the metaphysical, shedding her cocoon for a ruby red dress sans face covering. Here, her movements became softer yet more powerful as she carved through space, with a yearning look piercing through her eyes as if to say, “All of this is me. Take what you will.”

Still dynamic yet utterly unassuming was Sennichimae Blue Sky Dance Club, an all-female Butoh-influenced troupe from Osaka who performed an excerpt from “The end of Water,” which is a series of interludes focusing on images and archetypes of femininity. With multiple costumes changes, the sections flowed slowly but well. The company opened with stark white water nymphs who slowly rolled on the ground and transitioned to a lone woman dressed in an obi, slowly walking underneath a low-flying plane. The women then downed brownish separates, crawling in a small circle but then standing up and turning slowly in a circle. I wanted to be mesmerized, but instead thought this is what it would like if the Borg went to prom. The last portion felt the most satisfying. With the five dancers donning traditional white blouses and knee-length skirts, they splayed themselves across wooden chairs and stared in delicate handheld mirrors. Gazing at their own reflections, the women gracefully gaped, frowned, gawked, cried, and smiled while tilting their heads and shoulders at slight yet different angles. The slow, controlled, yet various positions and mannerisms was beautiful to watch, but didn’t create that transcendental experience that I have come to anticipate with most Butoh performances. I’m sure that a devoted evening would provide a greater context, but the thirty-five minutes gave an ample taste of the soft-stepping group and their immense skill.

Nibrol, an artists’ collective that features dancers and multimedia, reflected on everyday movements and activities connected with aggressive behavior through the lens of drinking coffee. In the excerpt from “Coffee,” animation and live-action video played behind the five dancers as they danced, interacted, and argued with each other. With bright colors and fast-paced music, this should have been Japanese pop, but instead Mikuni Yanaihara’s choreographic pacing just felt long and tiring.

So what is dance in Japan like now? It’s diverse, powerful, soft, in your face, chaotic, focused, and/or multifaceted. Take your pick. Right now.

Photo: Sennichimae Blue Sky Dance Club

SFB, Program 1, 1/27/2009

2009-01-28T17:38:00.000-08:00

San Francisco Ballet
Program 1: "Prism," "Diving into the Lilacs," "The Four Temperaments"
Tuesday, January 27, 2009

The city may be experiencing a slight chill, but last night, San Francisco Ballet opened Program 1 with sizzling pizazz. There was nary a tutu in sight, but the dancers onstage displayed classic technique combined with a refreshing sincerity, providing the perfect warmth to melt any cold winter’s night.

Yuri Possokov’s “Diving into the Lilacs” provided the evening’s subtle dash of royalness. Set to Boris Tchaikovsky’s hauntingly beautiful “Sinfonietta for String Orchestra," Possokov played with dark, wintry moods and full shapes, reminiscent of his youth in Russia. He succeeded in highlighting the women in “Lilacs”; adorned in Sandra Woodall’s flowing chiffon dresses, they looked to be in full bloom, and the men complimented them as supportive stems. The dancers jogged, tiptoed, and skipped backwards, sweeping their bodies in arc-like ways, and partway through the third section, Anthony Spaulding leaped through the gaggle of women like a child running through a garden on a warm spring day. Maria Kochetkova, in a pale pink-purple, resembled a coy butterfly, fluttering effortlessly between the traditional ballet steps and contemporary movements with Pascal Molat. Yuan Yuan Tan, adorned in an almost-white purple, graced the stage with her lean, long limbs, a stunning contrast to Spaulding’s protective demeanor. And while Lorena Feijoo looked lovely in deep purple, she didn’t seem to be in sync with her partner, Joan Boada; but this was a minor glitch in what was otherwise a lovely build over 25 fast-paced minutes. Not to be outdone, former principal dancer Benjamin Pierce collaborated with lighting designer David Finn to create a kaleidoscope of copious blossoming lilacs against the backdrop that, depending on their lighting, simmered vividly in varying pastel hues. With numerous intricacies and tiny details, this is a special work that easily deserves multiple viewings. It’s just that good.

Helgi Tomasson’s “Prism” and George Balanchine’s “The Four Temperaments” bookended the evening. “Prism” uses neoclassical ballet to reflect on space and light, and the large corps de ballet acts as reflections or echoes of the principal dancers; this is unison used wisely. Kristin Long sprightly turned on a dime, and Sofiane Sylve looked positively regal as she weaved herself through the adagio with an underwhelming Ivan Popov. Clara Blanco and Isaac Hernandez stood out in the corps, their technique and presence easily surpassing their peers. But the “breakout star award” goes to Taras Domitro, a Cuban-born dancer. While his technique sometimes seemed iffy, this guy offered a wow factor, especially when he’d turn in the air and whip out a massive 210 degree straddle split. The orchestra played Beethoven’s “Concerto for Piano and Orchestra No. 1” admirably, and throughout the evening, pianist Roy Bogas has never sounded better.

“The Four Temperaments,” set to an evocative score by Paul Hindemith, showed a more steely side of the company. This is neoclassical ballet at its truest. Elana Altman, in the second theme with Brett Bauer, danced with amazingly strong assurance and commitment. Over the past few years, she’s slowly come out of her shell, and now performs with a wonderful newfound musicality and radiance. Davit Karapetyan, debuting in ‘Phlegmatic,’ danced with such unaffected lushness; he's proved that he’s the epitome of a dancer’s dancer, having impeccable technique while also moving with fresh honesty. There’s no pretentiousness here. Ruben Martin and Sarah Van Patten partnered together in ‘Sanguinic,’ but while Martin looked to be back to form, Van Patten moved with awkward, and unexpected, stiffness. Sofiane Sylve, followed in the final variation, ‘Choleric,’ and was a dream to watch.

The company is lucky to have Sylve return this year. She’s a dancer unlike anything else SF Ballet has to offer. She’s athletic yet supple, and every time she’s onstage, she’s focused on the performance. The way she uses the muscles of her back, her legs, her eyes, her entire body, shows a confidence that only comes with years of practice, dedication, and experience, and as a dancer is never done learning and improving, I bet she has a lot to offer the company.

Last year, San Francisco Ballet celebrated its 75th anniversary, and the elephant in the room over the summer may have been how do you top a season of new works, large-scale celebrations, and world-renowned visiting companies. The answer, at least for SF Ballet, is to keep plugging away. And they have.

Yuan Yuan Tan and Anthony Spaulding in Possokov's "Diving into the Lilacs."
Taras Domitro in Tomasson's "Prism."
San Francisco Ballet in Balanchine's "The Four Temperaments."
© Erik Tomasson

forward thinking

2009-01-22T11:07:00.001-08:00

up to now, this blog has served as a repository for my criticaldance.com reviews. the pros: it's searchable via search engines, while the CD boards aren't. but the cons: dude, it gets boring. like super snore zone. zzzzz.

going forward, i'll try to be more proactive about dance events here in the city. i might falter and stumble or space out and take a long holiday, but anything's worth a try, right?

b.

Printz Dance Project, Cowell Theater, 11/7/2008

2008-11-10T17:23:00.000-08:00

Printz Dance Project and Siamsa Tire
Friday, November 7, 2008
Cowell Theater, Fort Mason

Stacey Printz’ local dance company collaborated with Ireland’s National Folk Theater of Ireland, Siamsa Tire, to bring an inspired program to Fort Mason’s Cowell Theater this past weekend. Both companies alternated segments with a big bang of a finale, which featured a lighthearted work that sprung from their collaboration last summer in Ireland.

Printz Dance Project opened with the earthy “Urban Primates.” With Laura Sharp flapping and wringing her arms and back with animalistic passion, the black-clad group got off to a raucous start with monkey-like squats, rhythmic bouncing, and wild arm-waving. Dudley Flores’s fresh, carefree style stood out in all he was cast in, but especially with Jenni Bregman and Katie Aggen in the playful romp about an evening with an orange pillow in “Dark Spaces/looking through windows” (excerpt). Printz herself made a quick appearance in the prologue from “Prague” (excerpt), which focuses on ghettos, art, and culture. With only a brief 10 or so minutes, the snippet didn’t do Prague’s intricate pairings or premise the justice it may deserve. “Prague” also featured original live music by Jon Sung on violin and beatboxer Carlos Aguirre, which is unusual for a small company. Kudos to Printz for this, and I hope the full-length work will be shown soon.

Most Americans' knowledge of Irish step dancing begins and ends with “Lord of the Dance,” a highly theatrical, commercialized vehicle for shirtless men, muscles, and Rockette-like lines of women. Siamsa Tire showed us that this art form goes farther than the superficial, and over the evening, they snapped their snazzy feet together in two quartets, “An Damhsóir/The Dancer” and “Seville Suite.” The kicker proved to be the former, with high energy, lots of fancy footwork, and lullaby-like vocals, but both were fun and invigorating to behold.

The evening sizzled to an end with “Cross Talk,” combining dancers from Printz Dance Project and Siamsa Tire in an international Gap ad to and fro across the Cowell Stage. In jeans paired with bright colored t-shirts, the two groups danced separately, together, and exchanging genres until modern, hip hop, and step dancing all melded into one big blur of sound and movement. Sure, you could tell which dancers were step dancers and which weren’t, but that wasn’t the purpose. The point was that we could share dance forms, learn from this partnership, and create something all-together unique to experience and enjoy. And truly it was fun while it lasted.

Keyhold Dances, EmSpace Dance, 9/27/2008

2008-09-28T23:05:00.000-07:00

“Keyhole Dances”
EmSpace Dance
Saturday, September 27, 2PM

Saturday morning I walked over to see the California Academy of Sciences’ opening, which felt like an environmentally friendly three-ring circus at 9:30 in the morning. I survived two hours before feeling overwhelmed with the tens (or hundreds ) of thousands of museum-going people wrapped down the music concourse and along JFK. Making my way home, I felt ready for a nap, but by mid-afternoon, I was glad I didn’t snooze; EmSpace’s “Keyhole Dances” made my weekend.

Erin Mei-Ling Stuart knows how to transform the mundane into something uniquely special, and her choreography and point of view continue to captivate her audience. “Keyhole Dances” is no different. Set inside a lovely flat situated where Western Addition and Alamo Square collide, guests are invited to peek in on rooms of individuals as they go about their lives. The location provides perspective as well as a cost-effective venue. No major fees and crews. She just needs to negotiate with the housemates.

Guests begin by walking through the apartment and peering in on the pre-show installations, all improvised to some extent. There’s a sensual yet somber tango in the living room, childlike twister down the hall (I was a mistress at spinning that dial), a drama queen contemplating suicide via bathroom window, and an orange fight in the TV room. Fast forward to a culmination in the living room with a tango featuring our main cast, wine glasses, and a potted tree (and on this afternoon, a fellow audience member who unknowingly joined them on the couch prior to “curtain”), and the rest of us assembled in chairs or leaned against a wall, almost like a giant house party with 25 of your newest friends. With drinks in hand, we divided into groups to view three five-minute segments. Christine Bonansea and Thomas Boyles shifted through a nighttime ode (to an original composition sung by Boyles) to the little things that irk us about our mates. Down the hall in the bathroom, Bekah Barnett sang in the shower as Isabelle Sjahsam moved passionately around the sink and her mate Malinda Trimble, and into the polished clawfoot tub. With Scott Simón accompanying on his guitar in the pantry, our group ended the afternoon around the kitchen table where Blane Ashby and Julie Sheetz hosted us while in the middle of a lovers‘ quarrel. They glared at each other with pure hatred and adoration swirling in their eyes, she fastidiously wiped his toast with her toes, and he giddily dumped an entire bowl of sugar into her coffee; these two turned little everyday gestures into a fast-paced, introspective amusement park ride. If I could, I’d go around again.

Stuart may have hit the nail on the head with this one, providing a fresh way to look at relationships and ourselves. And while I wouldn’t want a bunch of people looking in on my daily activities, if they ever did, I’d hope I‘d be under Stuart‘s masterful direction. And could I have a percussionist in my closet, please?

---Following a sold-out run, one additional performance has been added: October 5th at 5PM. Go to http://www.emspacedance.org/keyhole/ for more details.

Zhukov Dance Theatre @YBC

2008-08-12T10:27:00.000-07:00

Zhukov Dance Theatre
“M&W” and “Passing”
Novellus Theater, Yerba Buena Center for the Arts
August 8, 2008

Yuri Zhukov, a former ballet dancer turned teacher and choreographer, introduced his new company to the Bay Area last weekend at Yerba Buena Center for the Arts’ newly named Novellus Theater as part of the Bay Area Now series. The evening, aptly titled “Product 01,” focused on two new works, but neither really defined who Zhukov or his dancers are. Maybe that’ll be “Product 02”?

“Passing” seemed to be the evening’s more mature production. With the dancers dressed in muted grays, the six dancers flitted through group work and solos with cool calm. Zhukov created a movement vocabulary and built upon it, something that wasn’t very evident in the opening piece, “M&W.” Yet when Vladimir Martynov’s “Come In!” poured through the speakers, the soaring strings many times overtook the dance onstage. Sometimes, though, simple is the right way to go, and “Passing,” while tackling issues of death, longing, and separation, didn’t call for a lot of bells and whistles to catch my interest, and that’s to be commended.

Zhukov, though, got muddled in “M&W,” overusing unison to the point where I cringed. Unison works well to drive home a point, but one, it needs to be done well. And two, too much of it, especially combined with uninspiring and disjointed choreography, brings the attention to my least favorite choreography crutch (but a delicious ice cream flavor): everything but the kitchen sink. The stage filled with excess choreography, bodies, and lighting. There was, though, one point where everything came together with clarity, as the men poked their heads about under the upstage lighting while Marcos Vedoveto mesmerized me, gyrating and flapping his legs about while slinking his shoulders downstage, resembling both a peacock and a lion all at once.

Perhaps “Passing” and “M&W” reflect Zhukov’s spectrum as a choreographer: pure, mishmashed, understated, and puzzlement. With “Passing” showing promise, here’s hoping Zhukov resolves his identity crisis soon.

Scott Wells & Dancers at Project Artaud

2008-07-14T10:17:00.000-07:00

Scott Wells & Dancers
Presented by ODC Theater
At Project Artaud Theater
July 10, 2008, 8PM

Scott Wells & Dancers flew through the air last night at the Project Artaud Theater. With captivating lifts and contact movement, Wells seemed poised to take our breath away, but I left without needing an inhaler, a slight shame when reflecting on the overall scheme of things.

Wells’ “Home,” an early 90s cult hit, closed the show, and while it reminded me of how my high school and college days could have been but weren't, the ending fizzled into a blur. The five dancers spent the first portion building relationships to a montage of music and old-style radio ads, but then it became more about headswishing to Nirvana and swaying to Handel than anything else. The mood, though, filled me with hope that I might just be able to perform a double twist onto my living room's aged Busvan for Bargains sofa. I more so enjoyed the smaller and more intimate connections built throughout. Suzanne Lappas and Lindsay Gauthier explored girl power with sweetness, and Hallie Aldrich and Ross Hollenkamp shared special times over chairs. Andrew Ward played the odd one out, yet still won our hearts.

“Gym Mystics,” which premiered last year, opened with Rajendra Serber twirling and coddling a wood beam. Eight dancers gracefully flew across the floor with an eye-catching cartwheel-and-somersault canon, and the work later moved to a hilarious pas de trois with Serber, Lappas, and Aldrich on the segmented balance beam. These three played with ideas of emotional and physical support while building confidence to tackle the difficult, all while looking semi-swanlike, even in their striped yoga pants and tanks.

“West Side (story) Dances” also made it’s debut on the bill, but fell short of expectations. After seeing San Francisco Ballet sing and dance its way through Jerome Robbins’ ballet version, I felt like this one didn’t quite cut the mustard. Or as Randy Jackson may say, Wells didn’t make it his own. Using a lot of unison, both in groups and partner dancing, the audience sort of “got it” quickly. People are happy. People are sad. People are fighting. People are singing (and these people shouldn’t sing). Oh, and people are doing the mambo. For me, the choreography shined when Wells jumps about fifteen steps outside of the box. Part way through, dancers ran, slid, jumped, and spun onto the dimly stage from the audience’s side entrance, and all of a sudden, there was something unexpected. And that left me breathless.

SFB's New Works Festival (Program C)

2008-05-06T12:51:00.000-07:00

San Francisco Ballet
New Works Festival, Program C
May 3, 2008, 2PM

San Francisco Ballet’s New Works Festival is still the talk of the town, and luckily I was able to catch a matinée of Program C, featuring three very diverse ballets. This afternoon's cast showcased mainly dancers from the corps de ballet and soloists, a refreshing treat perhaps foreshadowing the company's future, and if so, this vision is grand.

Val Caniparoli's "Ibsen's House," gets my vote as winner of the afternoon. With dark fabric and a brightly draped "window" adorning the back, the 10 dancers emotionally poured through Caniparoli’s circular and attractive movement while portraying various characters from five Henrik Ibsen's plays, each focusing on women's place in society. These women aren’t cookie-cutter, and Caniparoli intends to prove it. Obviously, the ladies were the focus here, dressed in Sandra Woodall's dark jewel-tone dresses. Lorena Feijoo, in burgundy as Hedda Gabler, treaded lightly as she expansively lept forward and extended her arms, and Aaron Orza (a last-minute replacement for David Arce), as her husband, seemed indifferent to her needs. Clara Blanco shone as the young Nora Helmer, and Luke Willis as Torvald Helmer picked her up like a doll whether in second position en pointe or grasping his neck more like a father than a husband. I greatly enjoyed seeing the glowing Blanco in a featured role: she's got lovely, pure technique plus a special presence. Courtney Elizabeth and Pierre Françios Villanoba played the couple from “Lady from the Sea” with electricity and passion, but Patricia Perez, looking lost compared to the other women, danced somewhat tentatively with Steven Norman as the couple from “Rosmersholm.” Dana Genshaft, with enchanting musicality, and Garen Scribner paired well as the mother and son from “Ghosts,” dancing naturally and with confidence. “Ibsen’s House” featured innovative lifts along with 10 dancers’ sensitive and dramatic performances, and to top it off, Dvoràk’s “Piano Quintet in A Major, Op. 81” sounded divine from the pit. Caniparoli sure has a hit on his hands.

Coming in a close second, Jorma Elo’s contemporary “Double Evil” highlighted the program’s only tutu ballet. Dressed in Holly Hynes’ greens and turquoise, the six dancers pranced, skittered, and dove like zoo animals finally allowed to roam freely in the wild. Lily Rogers and Ruben Martin, as the lead couple, partnered in a sensitive opening duet, he sneaking under her leg as she smoothly extended to arabesque. Courtney Wright, Dana Genshaft, Garrett Anderson, James Sofranko, and Nicolas Blanc looked to be enjoying themselves, but Dores Andre, a more demure dancer, seemed out of sync with the rest. Elo blended two very different music scores well in the 20-some odd minutes, and James Ingalls’ juxtaposition of full lighting with Philip Glass’s “Concerto Fantasy for Two Timpanists and Orchestra,” a rhythmic and rumbling feat of semi-minimalism, and dewy, overhead spot lighting for Vladimir Martynov’s softer and lyrical “Come In!” worked wonders to distinctly differentiate the two ever-competing onstage moods. "Double Evil" was quite a treat.

“Thread,” San Francisco’s modern dance maven Margaret Jenkins’ contribution to the program, played on the concept of the myth of Ariadne, Theseus, and the labyrinth at Knossos. Jenkins produced some interesting movement vocabulary, especially with the smaller group partnering, but “Thread” felt drawn out and lengthy at times, never quite finding the center of the labyrinth, and instead getting stuck in a dead-end half way in. Jenkins’ incorporated some very hard-to-see movement behind a scrim, and Paul Dresher’s composition, made especially for “Thread,” lingered but didn’t help move the story along. Luckily, the dancers looked comfortable in the more modern movements, and Pauli Magierek sparkled as a refreshing Ariadne. Too bad this wasn’t enough to save the more muddled choreographic sequences from becoming a faint memory.

San Francisco Ballet’s New Works Festival, though, made a splash on my dance calendar, featuring a slew of dancers from corps de ballet to principal over the course of a few weeks. I enjoyed myself immensely, and I’m glad that many of the works will revisit the Opera House’s stage next year.

Pauli Magierek in Jenkins' Thread.
Dana Genshaft in Caniparoli's Ibsen's House.
© Erik Tomasson

SFB's New Works Festival (Program B)

2008-04-29T15:14:00.000-07:00

San Francisco Ballet
New Works Festival, Program B
Saturday, April 26, 2008, 2PM

The city’s been abuzz with chatter surrounding San Francisco Ballet’s New Works Festival, a three-program, multi-week spectacle of new choreography created by some of ballet’s most loved and well regarded dance makers, and Helgi Tomasson, looking to knock everyone’s socks and slippers off, seems to have delivered. At least, if Program B is any indication, I should be walking barefoot through the city for months to come.

Due to some personal scheduling, I started the Festival out of order, yet my gut tells me this shouldn’t be a problem. Ideally, each program should be able to stand on its own, yet as a festival, they should complement each other, too. In addition, each program’s individual works should also balance one another, yet Saturday’s matinee didn’t quite achieve my own expectations. Part of that may have been my fault, as who knows what to expect from something titled “New Works Festival.” Similar to the new InterContinental Hotel down on Howard Street, you’ve got to see it to believe it. And so I did.

The evening’s winner was a tie: Mark Morris’ continuously leg-kicking “Joyride” worked my brain into overtime while James Kudelka’s “The Ruins Proclaim The Building Was Beautiful” forcefully sauntered forward. With eight dancers clad in Isaac Mizrahi’s metallic unitards, “Joyride” takes no prisoners. The work highlights kicks, sharp arabesques, and wonderfully executed in-sync pirouettes, just as John Adams’ score (with him conducted the orchestra on this sunny afternoon) punches along at breakneck speed. Sarah Van Patten and Gennadi Nedvigin, dressed in shiny gold, led the way, steering everyone down a pulsating path of skill and gusto. Young corps member Jennifer Stahl, swathed in gunmetal grey, showed amazing control, and Rory Hohenstein flowed through the ever-challenging movement with a sexy naturalness.

Kudelka’s “Ruins” explores the social undertones of humanity, and the San Francisco Ballet Orchestra, under the direction of David Briskin, brought Rodney Sharman’s score, based on pieces by composer César Franck, to life. The darkly lit corps of women, adorned in pink sliced-and-diced tutus and nests of wispy hair (potentially by Helena Bonham Carter but credited to James Searle), waltzed like rosy waves from corner to corner. Frances Chung and Elana Altman were first to face the well-coifed and finely dressed (if slightly creepy) threesome of Pierre-François Vilanoba, Aaron Orza, and Martyn Garside, and the women pushed and fought, but easily gave in to the support, direction, and control the men provided. Yuan Yuan Tan, as the more modern woman in red, proved a better opponent to Vilanoba, but again, she finally succumbed to the weight and demands required of her to survive. Kudelka choreographs in stunning tangents, spilling forward with expansive ideas, and “Ruins” proved both lovely and disturbing all at the time.

Stanton Welch’s “Naked” showcased unimaginative yet structured choreography to music by Francis Poulenc. With the title, splash of neutrals across the back scrim, and peachy tutus and tunics, I expected raw expressive movement and something more telling than the basic leaps and turns. Still, the twenty-six minutes moved briskly, and the dancers brought their A-game, moving crisply across the stage. The two highlights of what “Naked” almost was were Kristin Long, who lit up the stage with her fresh spring in her jumps, and Frances Chung in her pas de deux with Brett Bauer with Chung dancing tenderly in Bauer’s arms. Why these two were not listed in the “principal” section of the casting sheet is beyond me…

Julia Adam’s “A rose by any other name” oddly set to Bach’s “Goldberg Variations,” sadly prompted me to recall “Angelo,” a static ballet I sat through more times than humanly necessary. With excessive posturing, gesturing, and two-dimensional walking about with arms up and down (I felt like I was examining Aztec codices or Egyptian hieroglyphs after the first few minutes), “Rose” drooped from the beginning. Yes, Adam changed the story up by having the fairies be men who then are recycled as the suitors/forest later on, and some of the ideas behind the fairy variations were cute (Bauer as Beauty always stared at himself via a mirror, even it was under his legs), but these tricks couldn’t save the ballet from wilting. Long appeared underused, but she was adorable nonetheless.

So with Program B complete (at least for me), I’ve seen it, and so far, I believe it. Sure, some of the choreography wasn’t to my taste, but I enjoyed seeing the company’s dancers in top form and on display for all to see. And to me, that's what matters most.

Sarah Van Patten and Gennadi Nedvigin in Morris' Joyride.
Elana Altman and Aaron Orza in Kudelka's The Ruins Proclaim The Building Was Beautiful.
Yuan Yuan Tan and Pierre-François Vilanoba in Kudelka's The Ruins Proclaim The Building Was Beautiful.
Frances Chung and Brett Bauer in Welch's Naked.
Elizabeth Miner and Gennadi Nedvigin in Adam's A rose by any other name.

All photos © Erik Tomasson

Doug Varone and Dancers @YBCA

2008-04-22T13:36:00.000-07:00

Doug Varone and Dancers
At Yerba Buena Center for the Arts
Presented by San Francisco Performances
Sunday, April 20, 2008, 2PM

Doug Varone and Dancers, a fixture in the New York City dance scene and modern dance departments at various New England colleges for years, graced San Francisco with its presence this past weekend. The company, plus Mr. Varone himself, skipped across the stage and back into our hearts, reminding us that dance is an everlasting feeling, even when sitting upright in a well padded chair.

The evening opened with Varone’s shining “Lux,” a visual kaleidoscope of Philip Glass’s minimalist “The Light.” The ever-introspective Eddie Taketa opened the work with soft jumps and a thoughtful look upon his face while a round, yellow moon began to rise in the background. The seven other dancers, dressed in Liz Prince’s elegant black separates, sprung out of the wings to join Taketa in this intelligent yet deceivingly simple-looking romp. They circled about in pairs, trios, and groups, continuously growing and retreating with the pulsing music until everyone burst into a glowing lit of bodies against the darkness behind.

“Home,” a dance theater duet with Natalie Desch and Varone, swayed the mood from lighthearted to downright serious and depressing. “Home” may be where the heart is, but Desch and Varone investigated some ups and mostly downs of life at home: the angst, love, passion, hate, and need. Both of the performers put their best into this performance, and their powerful presence grew as they shifted their wooden chairs from one spot to another quickly. Clack, Clack. Bang, Bang. Boom, Boom. But the mood had shifted so far from the tenderness and beauty of “Lux” that I felt it hard to become totally immersed in “Home.”

“Boats Leaving,” though, mixed the best of both worlds into one picturesque movement score. Accompanied by Arvo Pärt's “Te Deum,” a choral work with voices beautifully rising and falling, the eight dancers formed into snapshots and then elaborated on them, expressing emotions and feelings as they fluttered about or wiggled on the floor face down. Bathed in Jane Cox’s golden and then cooler side lighting, the dancers pushed forward, supporting each other as they danced in isolation or together. Taketa and Desch led the way, whether leading the group in a sharp diagonal or gesturing with an arm or head, and Netta Yerushalmy danced with a quiet intensity.

Each of Varone’s dancers displayed impressive qualities, which is a telling sign. He understands how to direct and showcase a remarkable complement of abilities within his own well-structured and developed movement, and he tells a good story through airy gestures and musical choreography to boot. Varone and his troupe aren’t scheduled to return to San Francisco anytime soon, but let’s hope they do.

"Boats Leaving" Photo © Richard Termine

Urban Bush Women and Compagnie Jant-Bi @ YBCA

2008-04-09T17:06:00.000-07:00

Urban Bush Women and Compagnie Jant-Bi
Yerba Buena Center for the Arts
“Les écailles de la mémoire (The scales of memory)”
Friday, April 4, 2008

Urban Bush Women and Compagnie Jant-Bi have collaborated on “Les écailles de la mémoire (The scales of memory),” a full-evening length work centering on identity, family, and history. I’ve seen both companies before, albeit separately, and this unique union proved that collaboration is a good thing.

The dancers begin by reciting their names and their ancestors: parents, grand parents, great grandparents, etc. There’s a connection, even if just by blood, that we can’t deny. “Memory” tackles many of the same issues as Company Ea Sola’s “Draught and Rain, Vol 2” did, but with much more choreographic development and success.

The men of Compagnie Jant-Bi easily compare to Urban Bush Women’s dancers. These strong men display presence and fortitude. Had I not known these were two separate groups, I would have assumed the dancers formed one complete troupe. The men strutted across the stage early on wearing red shirts that they later pulled off and slapped the floor with. The images of the bright red striking against their backs and then the ground as they hovered in a low squat lingered in my mind, and while I consciously knew they were up on a stage, dancing, performing, I still cringed and tried to look away. These men were enjoyable to watch, but their shapes and motions felt haunting all the same.

Nora Chipaumire, a 2007 Bessie Performer Award winner, led the Urban Bush Women with fire in her belly. A tall and striking woman, Chipaumire may not have looked the sharpest at times, but her passion and full-bodied submission to the movement overwhelmed everything else around her. The women kicked high and thrusted their hips deep, sending excitement through the audience. They giggled and flirted with the men, looking happy or competitive at times and disturbingly trapped at times. No one’s past is a perfect image, and “Memory” explored this well.

The eclectic score sampled beat box by Babacar Ba, wolof flows by Pape Ibrahima Ndiaye (Kaolack), the Drummers of L’Ecole des Sables, Kinshasa Theme music by Frederic Bobin, and other vocals and sound score by Christine King. Each choice pushed the evening forward, while highlighting the ins and outs of Germaine Acogny and Jawole Willa Jo Zollar’s developed yet fun-to-watch choreography. Now if only the two companies could come back. That’d be an even better thing.

Photos by Thomas Dorn and Antoine Tempé

A Tribute to SF Ballet, Program 6

2008-04-03T10:12:00.000-07:00

San Francisco Ballet
Program 6
Featuring:
The National Ballet of Canada, New York City Ballet, and Les Ballets de Monte-Carlo
Tuesday, April 1

San Francisco Ballet’s Program 6, billed as an international salute to the company’s 75th anniversary, doesn’t even showcase SF Ballet. Or at least not directly. Three companies have traveled to San Francisco with the goal of honoring SF Ballet, presenting works reminiscent of its rich and varied history while also showcasing their own strengths. Probably unintentionally, the evening also focused on relationships.

Traveling the farthest yet almost making the greatest audience impact, Les Ballets de Monte-Carlo, hailing from the tiny yet regal country of Monaco, presented the U.S. debut of Jean-Christophe Maillot’s “Altro Canto,” a smorgasbord of shapes, pairings, and dramatic imagery set against a never ending backdrop of rising and falling candles. Haunting baroque music played on as the 20 dancers explored ideas of loneliness and tension of relationships. Gender didn’t appear to be much of an issue at first, but as half of the dancers (male and female) were wearing trendy bubble skirts and the other half are wearing corsets and pants (all designed by Karl Lagerfeld), the androgyny question took on the role of white elephant. Maillot likes a show, and there’s no middle ground here. The choreography focuses on relationships of friends and lovers. Chris Roelandt, Jérôme Marchand, and Ramon Gomes Reis crossed and linked hands, creating a fluid wave motion reminiscent of scenes from “Winged Migration” with their arms, producing a beautiful and tender moment on stage. Later several of the men propelled Bernice Coppieters into the air, and she soared, doing an aerial worm up and over the men below. Coppieters and Reis also had a touching yet anger-filled duet: he trying to figure out just how to let her be while still being with her. It’s something we all wrestle with every day. That idea of self, of who we are alone, and who we are with others. Is there compromise or can we continue on this path, never yielding to anyone but ourselves? There’s a downside, though. Maillot tends to rely on big ideas, repetition and canon, and “Altro Canto” feels recycled after the first few sections. Reduce, reuse, and recycle would have worked wonders here, potentially transforming a barely simmering ballet to boiling. The majority of the audience, though, seemed to enjoy it.

The National Ballet of Canada journeyed south of the border to present Matjash Mrozewski’s “A Delicate Battle.” NBC’s dancers displayed strong technique and commanding stage presence, and “Battle” illustrated this well. With white flakes floating from the rafters, seven dancers (including Brett van Sickle, a former apprentice with SF Ballet), dressed in white dancewear, socks, and shoes, piqued into arabesque, flicked their wrists, and turned on a dime. This was crisp and honest ballet, even without pointe shoes. Alejandra Perez-Gomez, Heather Ogden, and Sonia Rodriguez rushed through the stage in 19th century gowns, and Etienne Lavigne, Patrick Lavoie, and Christopher Body chased them through people and falling pieces of white paper until each woman found herself facing the question of who they were and how they were supported: physically, emotionally, and relationship-wise. Perez-Gomez expressed anger and suppression in her pas de deux with Lavigne; she tensed her shoulders but furrowed her brow, and even with the enormous, billowy skirt and high neck of her dress, nothing could constrict her elegant presence or poise.

New York City Ballet brought George Balanchine’s “Duo Concertant,” a pas de duex of fancy, intrigue, and love. A lovely study of romance, opening night featured Yvonne Borree and Jared Angle being inspired by Anton Delmoni playing the violin and Cameron Grant on the piano. Borree projected innocence and coy well, and as she batted her eyes for the first time, you couldn’t help but not like her. But she didn’t quite measure up to Angle’s stage presence. He just projected a certain calmness that, even in his little sauté entournant (jumps in a circle), made him look much more well at ease up on the Opera House stage.

For the most part, the program worked. Plus, it’s a nice change to see other companies here in San Francisco, which is a rarity because if they visit the Bay Area at all, it’s normally in Berkeley. I just wish the end of the program achieved what the first few portions promised. One of the biggest positives of this program is that it offers the company’s own dancers a short but well deserved performance break while rehearsing for the grueling 10 new repertory pieces that are part of the New Works Festival. So here’s to the company’s past successes and future achievements. Salud!

Ramon Gomes Reis and Bernice Coppieters in Maillot's Altro Canto.
Sonia Rodriguez and Christopher Body in Mrozewski's A Delicate Battle.
Yvonne Borree and Jared Angle in Balanchine's Duo Concertant.

All photos © Erik Tomasson

SF Ballet, Program 4

2008-03-07T17:41:00.000-08:00

Robbins, the boy wonder
San Francisco Ballet
Program 4
March 6, 2008, 8PM

As San Francisco Ballet celebrates its 75 years of pointe shoes, faux snow, and tulle, it also honors one of America’s best-loved choreographers, Jerome Robbins. Robbins, who passed away 10 years ago, brought out the sass and flair of contemporary ballet. While best known to the average person for rhythmic snapping and double passé hops in the musical and movie versions of “West Side Story,” Robbins made handfuls of well-crafted dances over a 54-year career. SF Ballet’s Program 4 showcases three of Robbins’ ballets: his first official jaunt into dancemaking with “Fancy Free”; a retrospective of love and lovers in “In the Night”; and the toe-tapping “West Side Story Suite.”

Dancers, and ballet dancers at that, are normally known for being quiet. They leap quietly, wave and spin their arms to mime when it’s time to dance, and whisper like tiny mice while waiting in the wings. In “West Side Story Suite,” though, they sing, both as a chorus and solos, a reworked and shorted version of Leonard Bernstein and Stephen Sondheim’s “West Side Story.” On this opening night, Rory Hohenstein, leading the Jets as Riff, belted out “Cool” while strutting about the stage. His singing was adequate, but he shouldn’t quit his day job. Shannon Roberts, a dark-haired, blue-eyed corps member, shone as the fiery Anita, and along with Nicole Grand as Rosalia, they sang and shimmied their hearts out in “America.” Roberts’ portrayal is a break out performance. Here’s hoping to more golden opportunities for her in the future. As Tony, Garrett Anderson proved that you can dance in Levi’s and loftily leapt across the stage while company member Matthew Stewart sang “Something’s Coming.” Stewart deserves high praise: this is the first time a ballet company member has sung this role (in the past, it’s been filled by a professional). Dores Andre, as Maria, looked lovely, even with little to do, but in the “dream” sequence at the end (“Somewhere Ballet”), the corps members overshadowed her. I’d be curious to see Andre in the lead role in Christopher Wheeldon’s “Carousel (A Dance),” another duet about ill-fated lovers. Pierre-François Vilanoba slithered about as the knife-wielding Bernardo, and peppy Julianne Kepley gave the Jets a little extra pizzazz as the uncredited Graziela. Three cheers to Jean-Pierre Frohlich and Jenifer Ringer; they sure staged a winner, and the audience couldn’t have been happier.

Also on the bill was “In The Night,” which invites us to watch the nighttime tussles and embraces of three couples set against Frederic Chopin’s piano nocturnes. Yuan Yuan Tan and Ruben Martin explored that happy-go-lucky honeymoon stage. Martin looked every part the gentleman, but Tan focused too much on the pretty, the posing, and the audience as if she were dancing Odette and not an “in the flesh” woman in the early stages of love. There was no lack of feeling, though, with Elana Altman and Tiit Helimets. Even with some partnering goofs (he’s just not tall enough for her finger turns), they moved with careful restraint, as if we were peaking through their curtains and looking in on a private moment in their constantly intertwined lives. It’s beautifully tender to watch, especially when she’s tipped upside down, trembling her foot in cou de pied as Helimets slowly spins her right-side up. Perhaps it’s all about finding that sense of balance in life. Lorena Feijoo and Damian Smith complete the trio of duets with a passionate cat and mouse chase, evoking fireworks as they lifted and held each other close. Roy Bogas matched the dancers on the piano, and his performance sounded spectacular all on its own.

“Fancy Free,” a cute little romp with music by Leonard Bernstein, featured Garrett Anderson, Pascal Molat, and Davit Karapetyan as three sailors looking for love, short-term companionship, and/or a beer. These leading men one-upped each other as they battled it out for the affections of Erin McNulty, Vanessa Zahorian, and Mariellen Olson. Zahorian and Anderson’s duet sparkled as the highlight. They stared into each other eyes, beamed brightly, and reminded us of what falling in “like” used to be like. David Arce did all he could as the bartender, but one day I’m secretly hoping he’ll get the girl.

The program, and especially the company’s premiere of “West Side Story Suite,” shows the company's and its dancers variety. It sure is a sweet “Suite.” And how can you say no to that?

San Francisco Ballet in Robbins' "West Side Story Suite."
Elana Altman and Tiit Helimets in Robbins' "In The Night.
Vanessa Zahorian and Garrett Anderson in Robbins' "Fancy Free."
All photos © Erik Tomasson

Compañía Nacional de Danza @YBCA

2008-02-22T09:40:00.000-08:00

Compañía Nacional de Danza
Presented by San Francisco Performances
Performed at Yerba Buena Center for the Arts
Program A
Wednesday, February 20, 2008, 8PM

San Francisco houses numerous dance companies, but we don’t have anything quite like Compañía Nacional de Danza. Led by artistic director and choreographer Nacho Duato, the company’s amazingly talented dancers hail from all over the world and what they brought to the Yerba Buena stage last night was something I’ve never experienced. The company, over two hours, explored current and historical issues through powerful contemporary dance and received a well-deserved standing ovation from a full house.

Duato has a style all of his own, stressing the strong use of canon, repetition, rhythm, and justifiable unison. His movement leans towards curves and sweeping limbs with well-placed hops, and themes range from literal to more abstract. Here on the local stage, we were treated to three of his more focused issues: castration, slavery, and drugs, all in some way or another delving into who we are as individuals and in short, how we define ourselves and identify with those around us.

“White Darkness,” Duato’s introspective look at drug use and abuse, brought the crowd to its feet. With sand dropping from above and brushing to and fro, Ana María López, Amaury Lebrun, Soojee Watman, Francisco Lorenzo, África Guzmán, Randy Castillo, Inês Pereira, and Fabrice Edelmann, dressed in reddish black, danced in pairs. They resembled the body and how it responds to drugs: quick and flighty at the onset and lethargic at the end. As the lead couple, Yolanda Martín and Dimo Kirilov swept from one end of the stage, leaping and embracing until she makes a potentially deadly decision. All the while Jaffar Chalabi’s honeycomb-like structure grew and stretched upwards in the background, and the dancers, set, and falling dust continued to morph like a quick-spinning kaleidoscope against Karl Jenkins’ “Adeimus Variations” and “String Quartet No. 2”). Joop Caboort’s lighting design came to fruition at the finale, leaving many to gasp as the beauty of sand, body, and shadow.

“Castrati” opened with eight male dancers (including Dimi Kirilov, Isaac Montllor, Clyde Archer, Joel Toledo, Fabrice Edelmann, Francisco Lorenzo, Amaury Lebrun, and Héctor Torres) dressed in long sleeveless black capes and nude cropped pants moving through Karl Jenkins’ “Palladio.” Mental images of De Beers commercials quickly flashed in my mind, but retreated. These men were as durable as diamonds, but they caressed the stage with liquid strength and agility, lifting each other in arabesque-like positions and pushing their hands up and out as if they were offering themselves to the audience and something higher. Stein Flujt, as the latest to lose his manliness, showed compassion and thoughtfulness; he moved softly yet with a deep determination. Duato’s choreography showed these men as that: men. Even when castrated, they had their brawn, and they were a force to be reckoned with.

With sweeping backdrops by Walter Nobbe, Duato’s softer, more introspective “Rassemblement” explores slavery and resistance through Toto Bissainthe’s Haitian music and song, but it didn’t have the same force that the other two did. Slavery is a touchy subject, and to have mainly white people dancing about it is, well, ironic and hard to swallow. And yet to watch these dancers portray slaves, their feelings of resistance, their attempts to reject the ways of their captors and spin what is given to them into something of their very own: that held its own unique power unto itself. The final product, performed by Ana María López, Kayoko Everhart, Yolanda Martín, África Guzmán, Francisco Lorenzo, Mathieu Rouvière, Joel Toledo, and Isaac Montllor (with cameos by Gentian Doda and Fabrice Edelmann), weaved together a dramatic display of heart and fortitude.

Nacho Duato choreographs in big, bold gestures and it’s not something that can be ignored. His fervent success has been heard around the globe, and I hope it echoes here for many years to come.

Photo courtesy of Compañía Nacional de Danza

Company Ea Sola @ YBCA

2008-02-11T11:17:00.000-08:00

Company Ea Sola, "Drought and Rain, Vol. 2"
Yerba Buena Center for the Arts
February 6, 2008

Generally, the thought of Vietnam might bring to mind hot, flavorful pho; communism; and Lyndon Johnson, but modern dance and performance art probably don’t surface. Company Ea Sola’s “Drought and Rain, Vol.2” may change your mind.

Sola left home country at the end of the Vietnam War and lived in Paris for about a decade, where she explored movement in both formal and informal settings. Focusing on war and the responsibility and effects it has on individuals and a people as a whole, Sola incorporates dance, live music and vocals, projected images and text, and props, creating a multi-dimensional and potent 45 minutes of theater. Her dancers come from the Vietnam Opera Ballet of Hanoi, and while not having strong technique in traditional ballet and modern dance, they moved effectively enough, tiptoeing like a knock-kneed little child early on and, by the end, fully engrossing their entire bodies in Sola’s ideas and concept.

One of the most powerful images came when the dancers presented portraits of those touched by war. A scorching red glow fired down from above, and 16 hands, palms side up, reached out. There’s blood painted on these hands, even if they didn’t cause, participate in, or support war itself; everyone is connected to war. And this is what Sola’s work is ultimately getting at. How do we treat war? How much responsibility do we have for our community’s previous, past, and future actions? And how do we emotionally process this into our own consciousness? Sola says that her choreographic approach is “like an animal. I don’t have a lot thinking, but a lot of feeling.” The eight dancers gesture, shake, pause, and walk. The women’s hair flies naturally as they slide and lunge, looking uniform in their black tops and pants as the men jump about in colorful pants, shirts, and shorts. There’s rarely interaction between their bodies, adding a feeling of solitude, and there’s a definite end game in sight. The laid-back structure may seem muddled in certain moments, but what Sola lacks in choreographic structure and traditional dancemaking, she and her dancers make up for in heart and effort.

Photo © Company Ea Sola

SF Ballet, Program 2

2008-02-02T20:12:00.001-08:00

How Sweet It Is
San Francisco Ballet, Program 2
January 31, 2008

Thursday a few colleagues and I went to celebrate the last day of “Dine About Town” with a prix fixe lunch at Fringale, a lovely little French restaurant just a few blocks from work. Our appetizers and entrees hit the spot (I savored the couscous with mushroom and chestnut ragout and white truffle oil- how divine!), but by the time we were faced with dessert, we stood perplexed. Should we each order what our hearts desired, or do we agree to order one of each of the three choices and share amongst each other? We went with the latter, and boy, were we happy. Our mixed bill of a warm chocolate gourmand, hazelnut and roasted almond mousse cake, and apple tart tatin pleased all of the senses, and we came away with an appreciation for how each dessert complemented the other. The same could be said for Program 2 of San Francisco Ballet’s current season. Featuring works by Balanchine, Morris, and Possokhov, there was something for everyone, and while each work could hold their own on the expansive Opera House stage, the evening closed with a sense of well-deserved completeness.

The evening opened with George Balanchine’s “Divertimento No. 15,” set to music by Mozart. Balanchine has become synonymous with American ballet, so perhaps this was the program’s equivalent to my lunch’s apple tart. Showcasing musicality and pure, codified ballet, the work followed a theme of crisp 5th positions, deep pliés, pure balanced attitudes, and long, sweeping penchés. Kristin Long energized the stage with her feet of fury, and Gennadi Nedvigin is a man who knows how to maximize his plié, showing off luscious jumps, beats, and pirouettes that all seemed to melt and then spring upward from his ankles to the rafters. The principal cast also included Frances Chung, Rachel Viselli, Katita Waldo, Vanessa Zahorian, Nicolas Blanc, and Hansuke Yamamoto. All looked well-rehearsed, except for Yamamoto, who was a late addition, and this may just not be his forte.

Mark Morris’ “Drink to Me Only with Thine Eyes” brought Virgil Thomson’s score to life as a visual cornucopia of notes, beats, pauses, and rhythms. A highlight of the evening, the cast, dressed in conservative yet flowy white attire, looked comfortable yet fresh in the stripped down, unaffected movement. Anthony Spaulding invited us to share the moment as he gracefully balancéd (think waltzing) side to side, and Maria Kochetkova delighted, bounding with zest in her jetes. Courtney Elizabeth shone throughout, her smile reaching past the last rows of seats and out onto Van Ness and elegance radiating through her limbs and out the top of her bun. Rory Hohenstein looked at home in the relaxed movement and overall style; he truly is a chameleon of the trade. Morris knows how to create a work of art, and here, he's spun ballet on it's side, infusing it with a warm summer's day and a cool winter's night to create an effortless array of well-developed and joyous-to-watch movement. “Drink to Me,” though, was a true ensemble piece, and it wouldn’t have been as effective without the entire cast, which also included Elana Altman, Dores Andre, Ruben Martin, Elizabeth Miner, Pascal Molat, Garen Scribner, James Sofranko, and Sarah Van Patten. Nataly’a Feygina played the piano upstage center with ferocious abandon.

Yuri Possokov’s theatrical “Firebird” made an encore appearance. A brief 35 minutes, this is a short story for the kid in you. There’s love, intrigue, giggles, a chase scene, eunuchs cavorting about, and a glittering, orange, leggy bird with a wig. The contemporary set design by Yuri Zukov includes anime-like trees, a spare red “town”, and at one key moment, sweeping grayish fabric for a quick scene change. But even though Pascal Molat’s sinister Karchei had captured the princess (an endearing Rachel Viselli) and her fellow friends, and entrapped our prince-of-the-day (Damian Smith) in a Red Vine-like curly enclosure, in this universe, Yuan Yuan Tan, as the Firebird, ruled. With each spin or lift in Smith’s arms and leap towards Molat, the audience grew quieter and quieter, seeming to bow to her spellbinding ability to twist, turn, and sparkle at every moment. Martin West conducted the thumping San Francisco Ballet Orchestra. “Firebird” may not be the best ballet has to offer, but it sure did end the night with a loud round of applause and a smile on many faces.

You’re probably wondering which one I liked the most. Well, I’ll be honest: it was the chocolate gourmand. Pure, self-indulging, and rich down to the last bite. Just how I like ‘em.

Vanessa Zahorian and Kristin Long in Balanchine's "Divertimento No.15."

San Francisco Ballet in Morris' "Drink To Me Only With Thine Eyes."

Yuan Yuan Tan and Damian Smith in Possokhov's "Firebird."

All photos © Erik Tomasson.

Compañía Nacional de Danza

2008-02-01T14:44:00.001-08:00

¡Bailamos! Nacho Duato’s Compañía Nacional de Danza to debut in San Francisco at the end of the month

Nacho Duato’s Compañía Nacional de Danza will soar in and make its San Francisco debut at the end of February. Duato studied at the Rambert School in London, Maurice Bejart’s Mudra School in Brussels, and The Alvin Ailey American Dance Center in New York before pursuing a professional career, dancing with the Cullberg Ballet and Nederlands Dans Theater before trying his hand at choreography in 1983. Since then, he’s created renowned works for companies all across the globe, and his company, based in Madrid, Spain, is known for its strong dancers and unpretentious style, boasting 27 dancers and a well-regarded second company.

Kayoko Everhart, a dancer with the main company, trained for several years here in San Francisco and graciously agreed to answer a few questions about her formal dance training, performing career, and current experiences with CND in advance of the company's West Coast visit.

How did you get started in dance? What is your background and training?

The women in my family were very much involved with dance. My mother danced in a well-known theater/dance group in Tokyo, my aunt and cousin were competitive ballroom dancers, and my grandmother did traditional Japanese dance. Her last show was at the age of 92... I think she's about 96 now. I trained [for] nearly 10 years under Kay Englert at Washington Contemporary Ballet in Tacoma, WA. Then, in 2000 San Francisco Ballet School offered me a tuition scholarship to join the school. I had attended 2 summer programs with SF Ballet School before attending the [residency] program.

You studied at the Washington Contemporary Ballet and San Francisco Ballet, working with well-known dancers and artistic directors. How did your training prepare you for a professional career in dance?

My training at WA Contemporary Ballet gave me a strong base in classical ballet as well as in contemporary movement. Without it I wouldn't have gotten into SF Ballet School. I was given many opportunities to perform with the company while I was in San Francisco, and that definitely help to build an awareness of how everything functions in a professional company. The most valuable training I received was the time spent on stage and of course the time spent preparing for the performances.

Prior to Compañía Nacional de Danza, you danced with Tulsa Ballet and CNDII [the “second” company of CND]. What were these experiences like, and how do they differ from CND?

Tulsa Ballet is a mixed rep company, meaning they do a wide range of pieces from classical to modern. It's very interesting to have to constantly change styles. Being in CND2 was a great experience. It's a group of 14 dancers all between the ages of 17-24 from many different countries so we all had a lot of fun touring together. CND2 performs most of Nacho's older pieces, as well as choreographies by CND1 dancers, other up-and-coming choreographers, as well as pieces by the Co Artistic Director of CND2 Tony Fabre. The atmosphere in the 1st company is very different from the 2nd. The dancers are older and more experienced so there's a lot I can learn just by watching and being around them. Because there are twice as many people in the 1st company the group is not as closely knit. It did take some adjusting in the beginning.

What spurred your move to Spain and your inclination to join CNDII and, ultimately, CND?

I was given my first opportunity to dance a Nacho Duato piece (“Arenal”) while I was at Tulsa Ballet, and I quickly fell in love with the style. It's organic, and I felt very comfortable doing his movement. After some urging from a close friend, I decided to fly to Madrid for the audition. I didn't know much about the company at the time, and had never been to Spain, let alone Europe, but I knew I would be happy dancing his ballets. After being in CND2 there was no question about wanting to be in CND1.

Here in the US, companies often hire international dancers. How has your transition from American to European life progressed? And what differences or similarities have you experienced? How's your Spanish?

Naturally, I was ecstatic about joining CND2 and moving to Spain, but at the same time it was very unnerving to be in a country where I had no friends or family, and where I didn't speak the language. I started studying Spanish right away, but it took about a year to feel comfortable using the Spanish that I had learned. These days I can understand nearly everything and speak well enough to express myself. The lifestyle in Spain is comfortable and laid-back, but there are many smaller comforts that I miss about the US like all the 24hr stores and the huge number of choices at the supermarket.

What are some of your favorite works to perform? And will you be dancing any of them on tour?

While I was dancing with CND2 my favorites to perform were “Arenal,” “Na Floresta,” and “Rassemblement” (which I'll be performing on Feb 21). My current favorites with CND1 are “Herrumbre,” “White Darkness” (Feb 21), and “Por Vos Muero” (Feb 24).

Describe one of your favorite moments with CND and/or CNDII.

I was lucky enough to join CND1 in the middle of last season (Jan 2007), and my second tour with the company was to Yokohama, Japan. It's where my sister and nephew live, and it's just next to Tokyo where I was born and where my mother's family lives. My parents flew out from Tacoma, WA to see the show. I was completely nervous because it was my premiere with the 1st company, and it was the first time for all of my friends and family in Japan to see me dance, but in the end it was a great and memorable experience! I'm really thrilled that my 96-year-old grandmother got to see me perform.

With your, albeit brief, return to San Francisco, are there any places you hope to visit? Or favorite restaurants or places in the city you aim to revisit?

Most important on my agenda is to get in contact with old friends. It's been 6 years since my last visit to San Francisco, and that was only for a few days. If I have any time left after that I'll probably rediscover the city a bit.... walk around Fisherman's Wharf, Haight-Ashbury, Golden Gate Park, or Ocean Beach. Maybe I'll even ride a cable car, which I never did when I lived in San Francisco.

You can see Compañía Nacional de Danza February 20-24 (off-day on February 22), 2008 at the Yerba Buena Center for the Arts in San Francisco. Compañía Nacional de Danza is presented by San Francisco Performances.

Program A, February 20-21 includes:

Both performances are at 8PM.

Program B, February 23 (8PM) and 24 (2PM) includes:

More information can be found at San Francisco Performances’ website, http://www.performances.org.

Photos courtesy of Compañía Nacional de Danza.

SF Ballet's 75th Anniversary Gala

2008-01-25T16:30:00.000-08:00

San Francisco Ballet
75th Anniversary Gala
War Memorial Opera House
January 23, 2008

San Francisco Ballet’s 75th anniversary officially kicked off last night with the Diamond Gala Celebration, an evening-long tribute to America’s oldest professional ballet company. The evening’s performance portion opened with the "Star Spangled Banner" and a welcome and salute to past Christensen Medals awardees hosted by Board Co-Chairs Pamela Joyner and James Herbert (who was presented with his own medal onstage), and what followed was a lengthy but congratulatory tribute to the company.

First to take the stage (at least in pointe shoes and slippers) were advanced-level students of San Francisco Ballet School, performing excerpts of the American premiere John Niemeyer’s “Yondering,” a work that examines the transition from adolescent to adult (and with nice, expressive choreography to boot). What a joy it was to see these young dancers perform on the mainstage! They leaped, sautéd, and spun with crisp attack and flowing, natural epaulment.

With 14 former SF Ballet principal dancers onstage as the “audience,“ Rachel Viselli and Damian Smith coyly moved through an excerpt from Sir Kenneth Macmillan’s “Elite Syncopations. Following a season-ending knee injury last year, Nutnaree Pipit-Suksun returned to the stage with Molly Smolen, Brett Bauer, and Aaron Orza. All four looked wonderful technique wise, but former Principal Dancer Parrish Maynard’s “Secret Places” couldn’t quite hold it’s own. Sizzling in Helgi Tomasson’s “Two Bits,” Gennadi Nedvigin commanded the stage out with his soft yet powerful persona, and Katita Waldo boldly piquéd to and fro as his female equal.

Sarah Van Patten and Pierre-François Vilanoba brought the lulls of dreams and romance to the stage in the pas de deux from Christopher Wheeldon’s “Carousel (A Dance).” But one of the low points of the evening came with Wade Robson‘s “The Energy Between Us,” set to music by Télépop Musik. Robson, of Britney Spears/N’Sync/“So You Think You Can Dance?” fame, choreographed this thankfully short ballet, which featured Pauli Magierek and Rory Hohenstein as the slinky “Us.“ Frances Chung, Julianne Kepley, Jaime Garcia Castilla, and Matthew Stewart, all of star quality on their own, overtly played the part of some funky energy (imagine red kimonos, red shoes, red striped eye makeup, and spiky Mohawks for the women), but the choreography was so simplistic that I was offended. Really, all six of these dancers deserve much more than an MTV/FOX mishmash of second-rate choreography. Luckily there were seven more pieces to make up my disappointment.

Sofiane Sylve, who has joined the company for the first five programs as a guest principal artist, and corps de ballet member Anthony Spaulding presented Hans van Manen‘s “Two Pieces for Het (for Rachel)” with intense heat. Sylve, with the requisite pillow-like feet and incredible extension, swept across the stage as if she’s been here in the Bay Area for years, but it was Spaulding who exceeded all expectations, rising to the occasion and equaling Sylve in just about every way. I have high hopes for him in the future.

Vanessa Zahorian and Davit Karapetyan danced José Martinez’ “Delibes Suite,” dressed in lovely deep bluish purple costumes designed by Agnès Letestu. Karapetyan moved admirably, but Zahorian stole the show with her impressive and successive display of relevés and spot-on-a-dime piqué turns. Pascal Molat and Nicolas Blanc added a little humor and wit to the evening in an excerpt from Renato Zanella’s “Alles Walzer,” and their “who can outdo the other” mentality brought jolly chuckles from the seats around me. Tina LeBlanc, another dancer who has returned after undergoing knee surgery, joined Ruben Martin in the heartfelt adagio from Tomasson’s “Sonata.” LeBlanc proved she is the epitome of a ballerina, easily fusing her amazingly fine technique with the intangible quality of performance. There was no turn, head tilt, or arabesque; instead, there was "the dance," and over and over again, you felt for her and with her. Roy Bogas and David Kadarauch accompanied them splendidly on the piano and cello respectively.

Maria Kochetkova and Joan Boada brought a little tradition to the stage with the pas de deux from “La Esmeralda.” Kochetkova, with her sly échappés and forceful grand battements, captivated the audience with her charm and phrasing, but Boada didn’t quite measure up, hurrying his jetés and pirouettes while not quite finishing each movement. Changing things up, Yuan Yuan Tan and Damian Smith flowed in Edwaard Liang’s “Distant Cries,” an ever-moving river of lifts, reaching, and grasps. Liang designed the costumes: Tan in a light colored dress and Smith in black pants, and both dancers looked effortless, moving through the cornucopia of shapes and feelings with complete abandon.

Aptly, the finale from George Balanchine’s stately “Diamonds” closed out the evening. Featuring Zahorian and Karapetyan, the company courted and promenaded, but somehow the stage looked slightly cluttered. Zahorian and Karapetyan, though, soared through, leading the evening to a close with rounding applause during the company bows, compete with confetti and a balloon drop from overhead. The evening's performance wrapped up at 11:20PM, and not a moment to soon. Forty minutes later, I would have turned into a pumpkin. But that’s a totally different ballet!

Photo Credits:
San Francisco Ballet School Students in Neumeier's "Yondering" © Chris Hardy
France Chung, Julianne Kepley, and Pauli Magierek in Robson's "The Energy Between Us" © Erik Tomasson
Sofiane Sylve and Anthony Spaulding in van Manen's "Two Pieces For Het (for Rachel)" © Chris Hardy
Vanessa Zahorian and Davit Karapetyan in Martinez' "Delibes Suite" © Chris Hardy
Maria Kochetkova in Perrot's "La Esmeralda" © Erik Tomasson
Yuan Yuan Tan and Damian Smith in Liang's "Distant Cries" © Chris Hardy

Nutcracker, SF Ballet

2007-12-19T19:45:00.000-08:00

Ninety mi-nut-es of holiday magic
"Nutcracker"
San Francisco Ballet at the War Memorial Opera House
Dec. 18, 2007, 7PM

Sparkly fuschia-colored life-sized dolls, dancing snow, and squeals of tiny children’s joy stir up memories of early dawn on Christmas morning, which is just what Helgi Tomasson’s maturing “Nutcracker” aims to do at each and every performance. Tuesday night was no different, with tots dressed up in their best frocks and suits, sitting at the edge of their seats, and gaping at every turn and leap. “Mom! She just got so tiny!” exclaimed one little child behind me as the tree rose high above the stage. “Ooh! Snow fairies! Hee!” piped another as Snowflakes danced out of the wings. And if I had thought about it less, I probably would have giggled with glee right along with them!

Act I plopped us in the middle of 1915 San Francisco, and the character dancers, supers, and company dancers looked right at home. The party at the Stahlbaums’ passed with ease--a group dance here, children running there, and a graceful Jessica Cohen as Clara--, and it all flowed quite well into the dancing dolls. Rory Hohenstein played the flexible and somewhat dopey harlequin, and Clara Blanco, who’s returned to SF Ballet after a one-year hiatus in England, shined as the spinning, flexedfoot dancing doll. Katita Waldo heralded the stage as the Snow Queen, and as her King, Hansuke Yamamoto displayed impressiveness in both his sissones and partnering. Lily Rogers stood out as a light-footed and stretchy snowflake, and Ashley Muangmaithong’s smile carried all the way to the back of the Opera House. In Act II, encircled by a buzz of butterflies and ladybugs early on and Waltzing Flowers toward the end, Elana Altman commanded as the Lilac Fairy, but she dazzled in the allegro, leaping high above the ground yet always with an air of calm around her. Adeline Kaiser slithered as the lead in Arabian, artfully partnered by David Arce and Aaron Orza, and James Sofranko along with Benjamin Stewart and Matthew Stewart kicked and spun with attack from the first moment they leapt out of the Faberge eggs. The best, though, was saved for last, when Frances Chung and Jaime Garcia Castilla (his debut in the role) performed the Grand Pas de Deux with electricity and finesse. Chung’s piqués were soft yet forceful, and she spun effortlessly through her fouetté turns. Castilla’s chaîné-grand jetés reached forward past his finely pointed feet and stretched arms, covering every inch of the stage, and his artistry proved his “princiness.”

Martin West conducted the San Francisco Ballet Orchestra, and its spirit proved merry, adding to a well rounded "Nutcracker" overall. But while I enjoyed this evening’s onstage performance immensely, it was my neighboring children’s intrigue and genuine appreciation for a classic story intertwined with all of the tricks, secrets, and magic that the theater holds so dear (and SF Ballet does so well) that reinforced that the holidays are a time of happiness, joy, and warmth.

Photo © Erik Tomasson

Margaret Jenkins Dance Company @ Project Artaud Theater

2007-12-18T10:04:00.000-08:00

The proof is in its brightness
“Other Suns”
Margaret Jenkins Dance Company
Project Artaud Theater
December 8, 2007

Inspired by her time in spent in Asia, Margaret Jenkins premiered the first part of “Other Suns,” which is set to be a trilogy examining symmetry and asymmetry. Prior to the event, my mind flashed back to my days of geometry and proofs. Would there be iscosoles triangles? Perhaps an investigation of parallel vs. perpendicular lines? No. Of course not. But there was proof that Jenkins’ work is well grounded, and that there’s still quite more to come.

The 40-minute long evening, set in Project Artaud’s spacious theater, began with warm bulb lights shining brightly behind the seven strong dancers: Joseph Copley, Kelly Del Rosario, Melanie Elms, Steffany Ferroni, Matthew Holland, Deborah Miller, and Ryan Smith. With great care and subtle strength, Elms initially drew us in with her deliberate movements and graceful presence. Circling around with a controlled breath, pausing ever so slightly to where I was sitting precariously at the edge of my set waiting for what comes next, she flowed through space with increasing awareness. Hip bumping the dancers as if she was the end piece of a Newton’s cradle, she gently swayed them into motion. As the work progressed, they moved similarly, at times in synch and others not, but the continuum traveled ahead, pulling dancers forward and back, up high into the hung lights and rolling down upon the earth. There was always, though, a return back to the center, whether it was a dancer’s own personal center or that of the space. Similar to a planet or group of planets circling around a sun and the sun’s gravity in holding the planets’ in their orbits, the dancers’ focus remained in the present, even when it seemed like their bodies were forever jutting quickly in infinite directions through space. The dancers ended with a sense of relief, contentment, and solitude, complemented by the final drips of water off of a platform (designed by the always inspirational Alexander V. Nichols) raised high above the dancers. The music, recordings of Paul Dresher’s "Channels Passing" and Bun-Ching Lam’s "Like Water" provided moments of lift and contemplation, easily complementing Jenkins’ choreography without being overpowering or distracting.

I’m curious to see what follows, which will be a collaboration with Guangdong Modern Dance Company of China and scheduled for debut in 2009. Will Jenkins’ subsequent sections build upon the first or incorporate parallels in other movement and dance universes? Or maybe not every sun has such a sunny side as this one.

Faustin Linyekula @YBCA

2007-11-09T08:35:00.000-08:00

Let the Festivities Begin
Faustin Linyekula/Les Studios Kabako, "Festival of Lies"
Yerba Buena Center for the Arts’ Forum
November 8, 2007, 8PM

Faustin Linyekula/Les Studios Kabako returned to the Bay Area this week after a two-year hiatus. The company’s previous work, a mainstage performance of "Triptyque Sans Titre," garnered applause and dripping admiration for the choreographer and his dance troupe, and many eagerly awaited their return. As one of several stops on Linyekula’s American tour, last evening provided a very different sensory and imagery experience from the first moments to the last breath. Enclosed within a nightclub-esque setting in Yerba Buena Center for the Arts’ Forum, "Festival of Lies" explored history, memory, and identity through text, propaganda, movement, and song.

Reflecting on what they know or think they know, the four performers from the Democratic Republic of the Congo, Marie-Louise Bibish Mumbu, Papy Ebotani, Djodjo Kazadi, and Linyekula, expressed beliefs and desires of a “fictional” people. The concept of what actually occurred versus what people believe or remember is a powerful thing, and can control a nation or body of individuals to where individuality becomes crushed under the weight of the powerful. Ironically, when Linyekula asked everyone in the audience to stand, we did. He told us to eat, and a line formed at the buffet. He instructed us to buy drinks, and we followed. We, too, follow the leader, even in unassuming situations.

The three dancers, Ebotani, Kazadi, and Linyekula, expertly synthesized movement with emotion, their central bodies often the impetus for the dance with the first step initiating from the heart or the hip. At times they sang over or separately from the taped music or speeches, adding another dimension to the already sensory-filled event, and the passion these men displayed shone through their eyes and bodies like the sun breaking through the clouds early in the morning. Mumbu, with a warm, silky voice and mother-like authority, provided context through image-filled text readings.

A Taste of Africa, a Berkeley Cameroon restaurant, provided delicious food, including jollof rice, ewole (sautéed greens in a creamy sauce), and nsoke (stewed black-eyed peas), and the local band Soukous Connection thumped along with contagious beats and rhythms. At the conclusion of the evening, the audience poured onstage to dance the rest of the night away with the company, breaking the last barriers between performer and observer.

This festival of lies, the exploration of lies, seems telling comparing it to the religious Festival of Lights in both Hinduism and Judaism. In India and Nepal, the Festival of Lights signifies good triumphing over evil, and in Judaism, the lights celebrate religious, cultural, and national freedom. Here in Linyekula’s version, the lies are represented by 3 foot lights: coddled, sung to, held, moved, danced over, shaped, and lit and unlit. Perhaps the recognition of a murky past is also a way to bring light, hope, and direction to the future. A festival indeed.

“Festival of Lies” continues tonight with a regular-length performance and Saturday in festival style from 6PM to midnight.

photo by Agathe Poupeney

Armitage Gone! Dance, SFP @YBCA

2007-10-19T10:19:00.000-07:00

Going, Going, Gone!
Armitage Gone! Dance
Presented by San Francisco Performances
Yerba Buena Center for the Arts
Saturday, October 13, 2007, 8PM

Summer is officially hidden away by San Francisco's fall-time fog, which means that dance season is finally here. With a two-day engagement hosted by San Francisco Performances at Yerba Buena Center for the Arts, Armitage Gone! Dance, a New York-based company led by Karole Armitage, kicked off my dance calendar this past weekend. But alas, the kick proved to be more of a poke and the anticipated bang resembled a sigh.

Armitage, who danced for Balanchine, Cunningham, and others before spending a few decades across the pond (and no, not in Oakland, but in Europe), rests on what she knows, ballet vocabulary, and her two works, Ligeti Essays and Time is the echo of an axe within a wood, display this. But pairing ballet steps and a tinge of modern dance together a ballet you do not make, Yoda might say, and this was the case last Saturday night.

Ligeti Essays, reminiscent of modern versions of Balanchine’s Stars and Stripes, "Rubies," and The Four Temperaments, featured the company with taped music and vocals by composer György Ligeti. Even with the women costumed in basic black leotards and belts and the men in ill-fitting ankle hitting black pants, tanks, and socks, the seven dancers outshined the work by far, kicking, jumping, and pirouetting with grace and power. The choreography, though, suffered immensely, never growing quite past the superficial stage of the "boy meets girl" aspect of steps and positions. The dancers looked disinterested throughout the intermingling of solos, duets, and group work, even with cool blue lights illuminating their feet and the steely silver tree randomly positioned in the background. Perhaps their thoughts were focused more on the international roller derby championships taking place across the city; it sure would have been more exciting.

Time is the echo of an axe within a wood, set to music by Béla Bartók, somewhat improved upon the first half. Strands of sparkly beads hung from the ceiling, creating a box-like effect around the stage, and the dancers were dressed in (again ill-fitting) leotards of gold, silver, and bronze. With softer lighting and more developed movement, the dancers appeared more focused, but again, the choreography left little to be desired. Moving to the beat became monotonous after awhile, and Time’s only saviors were the company’s impressive dancers: Leonides D. Arpon, Matthew Brahnam, Frances Chiaverini, Theresa Ruth Howard, William Isaac, Ryan Kelly, and Mei-Hua Wang.

This performance left me speechless, and not in a good way. Armitage has a small army of well-trained dancers at her fingertips and decades of dance and performance under her belt, but can’t seem to use them to her advantage. Perhaps she’s not meant to be a choreographer. And really, is that such a bad thing?

Photo © Richard Termine

Lines Ballet in collaboration with the Shaolin Monks, 4/20/2007

2007-04-25T11:07:00.000-07:00

Lines Ballet in collaboration with the Shaolin Monks
April 20, 2007
Yerba Buena Center for the Arts

Most likely, when you think of ballet, you don’t automatically think kung fu. Or monks. Or young boys performing front headsprings (yes, head, not hand) across a stage. But thanks to Alonzo King’s creative wit, that’s exactly what we got with Lines Ballet’s collaboration with San Francisco’s localized Shaolin Monks. This evening (rumored to be titled “Long River High Sky” yet not listed as such anywhere in the materials) combined King’s distinctive contemporary choreography with the Monks’ kung fu, tai chi, gymnastics, and overall calming presence, and what began as a ballet vs. monk dichotomy ended with a common understanding that both performance styles and beliefs held beauty and strength in high regards.

Surprisingly, a third “performance style” emerged quietly yet powerfully through the work: that of the musicians. Hong Wang, Wanpeng Guo, and Shenshen Zhang of Melody of China harmoniously accompanied the performers using 15 different instruments (banhu, dizi, and concert sheng to name a few). At times, I found my mind drifting off listening to the music, harmonious and serene at times and quickly beating at others.

While the program spanned a lot of ground throughout the two halves and its 29 sections, the fusion we all expected never quite took flight. Many times, the monks looked like props to the Lines dancers and vice versa, and the two forms never quite developed a visually pleasing balance. I expected something more than the mishmash of form against form: a newly codified movement style or editing to create more “common ground,” perhaps. But even with these issues, the program envelopes your senses and mind with images of what might be possible with a little bit of artistic effort and imagination (except that of monks in arabesque).

SF Ballet, Program 5, 3/23/2007

2007-03-24T21:11:00.000-07:00

Thirstquenchingly good
San Francisco Ballet
Program 5
March 23, 2007, 8PM

San Francisco Ballet’s season is quickly cresting past the halfway mark, and Program 5 swelled this Friday evening with four contemporary yet differing works.

The evening’s highlight proved to be the debut of Christopher Wheeldon’s “Carousel (A Dance)” to the music of Rodgers and Hammerstein’s musical of the same name. Sarah Van Patten and Pierre-François Vilanoba, as the young lovers, transformed the stage from sheer performance into an alluring story, and a well-danced one at that. Wheeldon, breaking out of his Balanchine-esque ways, choreographed an enjoyable vision to watch, and as the couple’s relationship grows, you almost want to giggle giddily along with Van Patten as she realizes she’s in love. The orchestra, conducted by Martin West, swayed confidently through the score, and the corps’ human carousel at the end (oh, what a spectacle!) adds an extra “oomph” element to “Carousel,” all the more reason to relish and bathe in the sweet moment.

Mark Morris’ “Pacific” glided to and fro with a freshness matched only by Lever 2000. Bodies leaped and arched in succession, reminiscent of the ocean on a clear day. Tina LeBlanc and Nicolas Blanc (filling in for an injured Gennadi Nedvigin) displayed warmth and intimacy as the red couple; him lifting her as though she were a continuation of his arms, and she graciously reaching to him as she twisted into a stretched out attitude. Elana Altman, as one of the four “green women,” provided grandeur and tranquility as she jetéd and swirled about.

Not to be outdone, Helgi Tommason’s “The Fifth Season,” to music by Karl Jenkins, returned to the stage with a punch. Katita Waldo looked in fine form with her long limbs jutting forwards and a cool demeanor as she tapped her foot, and Gonzalo Garcia matched her well in both presence and style. Van Patten and Vilanoba moved their way across the stage with a ballet-based tango that would put “Dancing with the Stars” to shame. Yuan Yuan Tan and Tiit Helimets, as the third couple, connected softly throughout Sandra Woodall’s art gallery-like space. The corps, though, was poorly costumed and unfortunately served no purpose other than to add eight more bodies to the already well-crafted space.

Rushing in like high tide, Jerome Robbins' “Fancy Free” progressed quickly and assuredly. The three giddy sailors (Gonzalo Garcia, Garrett Anderson, and Pascal Molat) had only two things on their mind: girls and girls. With all their might, they competed in their own little dance-off: a battle of jumping, sliding, time-stepping, and posing all for the chance to get a girl. Erin McNulty, clutching a scarlet purse, had great attitude (even with an unfortunate stumble early on), and clad in violet, Vanessa Zahorian daintily humored the men in white. And yet just when the guys think their shore leave has been a bust, in strolled Elana Altman to boost their egos once more.

Cool and hydrating, Program 5 quenches your thirst for edge, variety, and solid dancing. Let’s hope the rest of the season lives up the bill.

Sarah Van Patten and Pierre-François Vilanoba in Wheeldon's Carousel.
© Erik Tomasson

SF Ballet, Program 4, 3/13/2007

2007-03-14T17:32:00.000-07:00

Just copy and paste
San Francisco Ballet
Program 4
Tuesday, March 13, 2007

The city’s ballet aficionados were out in full force Tuesday night for the premiere of San Francisco Ballet’s Program 4, a mixed, and contemporary, bill chockfull of imagery and appeal.

The hit of the night proved to be the US premiere of Wayne McGregor’s “Eden/Eden,” which was originally choreographed for Stuttgart Ballet. A beautifully disturbing look at human cloning, nine dancers, dressed in striking attire by Ursula Bombshell and led by the stunning Muriel Maffre, explore the world of carbon copies and the slight nuances that make us human. Drawing on aspects of Adam and Eve (here, Eve came first!), the dancers delve into the deep issues of immortality, choice, and individuality. Dana Genshaft showed amazing flexibility and line during her sections with Pascal Molat, and Hayley Farr stretched and cavorted like a pixie. In fact, the entire cast astonished me with their ability to move very rhythmically in a very non-traditional way, and if I hadn’t known better, I would have thought we were in Germany. Charles Balfour’s stark lighting initially covered the stage with a silvery-white newness a baby might experience in its early stages, and later the lights transcended to a rich, dewy orange, similar to a sunny evening at Baker Beach. Minimalist Steve Reich’s rich and ear thrilling score combines text, vocals, techno, and classical music in a way that made me bop along in my seat while wishing I could grand battement up the aisle, down Van Ness, and towards the bus stop. Intellectual yet intricately choreographed, “Eden/Eden” builds to a satisfying yet still disturbing climax, which had many jumping to their feet in applause at the end.

The encore of Paul Taylor’s “Spring Rounds,” with music by Richard Strauss, was led by Vanessa Zahorian and Garrett Anderson, who both danced with ease and a genuine nature-- there’s nothing forced here. Both looked natural, and very much like a Taylor dancer (only better) with the tuck of a pelvis here, a curve of the arm there. Their pas de deux spoke volumes, even though it evoked a quiet time of growth between two people; these are dancers who can do more than just ballet. Sprouting up and dancing fervently like spring could end tomorrow, the lime green-clad corps of 12 dancers clad flew from corner to corner and around in circles, whipping out tuck jumps and sauté attitudes front and back, and while I like my weather a little on the cool side, “Spring Rounds” made me glad spring is truly here.

Helgi Tomasson’s “Chi-Lin,” which debuted in 2002, returned to the Opera House, yet seemed out of place compared to the other two works. Tomasson collaborated with Bright Sheng, a past MacArthur Award winner, on the score and concept, but while there’s plenty of glitz and tricks, the superficial “Chi-Lin” seems to be lacking in substance, development, and musicality. Yuan Yuan Tan seemed warmer and more sensual compared to her “Chi-Lin” of five years ago, and Tiit Helimets proved slow and steady can be beautiful as the Tortoise. But Hansuke Yamamoto’s Phoenix didn’t quite have the spring of Parrish Maynard’s debut, and Pierre-François Vilanoba, bless his heart in those golden hot pants and a wig full of dreds, did the best he could with the limited movement vocabulary. The men’s and women’s corps, while mostly there for show, seemed off or out of sync at times, but they also proved the point that sometimes less is more. Too much can be a distraction, and we don’t need a ballet that has everything but the kitchen sink in it unless everything is just amazingly structured, developed, and presented. Then please, go right ahead.

Program 4, without a tutu in sight, aims to please the contemporary ballet-goer, and “Eden/Eden” is not to be missed. If only all dance programs were this good.

Dana Genshaft and Pascal Molat in McGregor's Eden/Eden.
© Erik Tomasson

SF Ballet, The Sleeping Beauty, 2/24/2007

2007-02-26T11:50:00.000-08:00

Smells like teen spirit
San Francisco Ballet’s “The Sleeping Beauty”
Saturday, February 24, 2006, 8PM

As a teen, the first full-length non-Balanchine story ballet I saw was The Royal Ballet’s “The Sleeping Beauty.” One of my fondest memories of this was the awe factor: the first time the fairies entered, Aurora balancing during the Rose Adagio, and later the celebratory wedding scene. Last year’s rendition by the Kirov Ballet didn’t quite hold up to my adolescent memories, but this weekend, San Francisco Ballet stood up to the challenge with its own version.

Choreographed by Artistic Director Helgi Tomasson (after Marius Petipa, of course) in 1990, this Sleeping Beauty paints more than just a pretty picture. Sure, there are attractive sets, happy corps de ballet dancers, lavish yet understated costumes and wigs, and the well-known story, but what’s more, there are also dancers with determination and spirit. Yuan Yuan Tan, Saturday’s Aurora, showed us that beauty is more than skin deep. While not completely believable as a genuine, sprightly 16 year old, Tan performed with grit and flow, with jaw dropping balances in attitude (I think I counted at least 5 seconds in there somewhere. Thank goodness for the evening’s conductor, Martin West, and his baton!) during the Rose Adagio. Later on, when she came “out of retirement” at the ripe ol’ age of 116, Tan seemed more relaxed and refined, allowing her upper body to flow more and adding a peaceful smile to her face. Maybe the 100-year nap was a good thing. Or perhaps this was her reaction to her newfound love for the ever-able Prince Desiré, portrayed by Tiit Helimets, who partnered her soundly and effortlessly throughout while displaying gorgeously centered pirouettes and fantastically light n’ fluffy (just how I like my pancakes!) beats.

With supple limbs and strength running tautly through her veins, the regal Muriel Maffre ruled the stage as the Lilac Fairy and showed that while pantomime in story ballets can sometimes be long winded, it can, if done just right, actually be beautiful to watch. Sarah Van Patten, tonight the Fairy of Generosity, has come far in the past few years, developing from a young unpretentious woman into a self-assured and commanding presence to complement her fine technique. But one of the biggest surprises of the night came from Dores Andre, a member of the corps de ballet, who made her debut as the Fairy of Serenity in Act I along with the White Cat to Matthew Stewart’s nimble Puss In Boots in Act III. Other than a slight bobble at the beginning of her initial variation, Andre danced with a quietness that had me on the edge of my seat, following her from corner to corner as she hopped, balanced, and hopped again. Just two hours later, she transformed into a slinky hip-bopping feline who could purr with the best of them.

Elizabeth Miner’s fluttering and quick-footedness as the Fairy of Playfulness and later the Sapphire Fairy brought a smile to people’s faces, and Molly Smolen was well received in the roles of the tough-as-nails Fairy of Courage and the Diamond Fairy. Nutnaree Pipit-Suksun, the Fairy of Tenderness, melted into every plié with ease, but sometimes her face told a different story. Two very different peas in a pod, Courtney Wright and Courtney Elizabeth sparkled as the Silver and Gold fairies. Wright’s dancing contained a more subtle shine, while Elizabeth glittered with more pizzazz. Katita Waldo (in for Kristin Long) and Joan Boada fluttered as the Enchanted Princess and the Blue Bird. Boada, with his smoldering good looks, seemed ready for takeoff, but Waldo looked out of place, and their partnering was shaky at best. Anita Paciotti's sinister yet gold-clad Carabosse (aka the Fairy of Darkness) creeped me out, and I can easily understand why she was “forgotten” on the guest list. Quinn Wharton was a boyish yet polished Mongolian Prince, and both Garrett Anderson and Jaime Garcia Castilla excelled playing the Cavaliers to the Jewel Fairies. One more of note was Nicole Grand as one of the Little Lilacs. Grand displayed great stage presence, always in character with a smile on and her head held high.

One nice, yet minor edit to Tomasson's "The Sleeping Beauty" is the recent removal of the 2nd intermission between Acts II and III. Yes, it's nice to have that "breather" in there, but for many families, a 3-hour ballet with young kids can be grueling.

There is a lot more to look forward to with this run, including Rachel Viselli’s debut as Aurora and several new Lilac Fairies (Elana Altman, Sarah Van Patten, and Nutnaree Pipit-Suksun). And with such a wonderful start, the momentum is sure to continue on.

Photo by Marty Sohl

Stephen Petronio Company, 2/9/2007

2007-02-11T20:33:00.000-08:00

They’ve Got Kick
Stephen Petronio Company
Presented by San Francisco Performances
Yerba Buena Center for the Arts
February 9, 2007 8PM

Do you ever wake up and think, “Hey, I have an urge for some New York-style modern dance today!“? Funny enough, I did so just last week, and what timing with Friday’s return of the Stephen Petronio Company (presented by San Francisco Performances at Yerba Buena Center for the Arts). This evening was a night filled with dance (SF Ballet and Reggie Wilson next door presented by YBCA), and I’m glad I was able to see the Stephen Petronio Company’s return to the city by the bay.

The program opened with what happened to be the shortest yet potentially most fulfilling work, Petronio’s 2006 “Bud Suite,” set to the intelligent music and lyrics by Rufus Wainwright. Funky, edgy, and clever, “Bud Suite” explores the poignancy of youth and the multitude of expectations throughout life without ever feeling like a downer. The dancers, partially in suits or white button downs with tattered backs and short red shorts (with tulle poofs on the rears at one point for the women), moved with incredible ease yet underlying power: Little piques here, a large grand battement originating from the pelvis there. The movement grew, yet not too big for its britches as my grandmother would say, and I enjoyed the understated yet compelling style.

“Bud Suite” acted as a prelude to “BLOOM,” also set to the music of Wainwright (utilizing lyrics from Latin Mass as well as the poetry of Walt Whitman and Emily Dickenson). While Wainwright was prerecorded, additional live accompaniment was also provided by the sweet and melodious sounds of the San Francisco Girls Chorus conducted by Susan McMane. The company’s men wore Rachel Roy’s cream/grey colored vests and shorts, and provided a more grounded contrast to the women, who were dressed in her muted blue/grey dresses resembling tulips blowing in the wind (and some “blooming“ later on into golden shimmer-like baby doll dresses). As the chorus, the music, and the dancers continued to soar, I crept to the edge of my seat, the company moving so fluidly on stage through this harmonious dance that I didn‘t want it to end.

Excerpted from Petronio‘s 1992 “Full Half Wrong, “The Rite Part,” set to Igor Stravinsky’s “Rite of Spring” and music by Mitchell Lager, is based on Nijinsky’s “Le sacre de printemps.” The company, adorned in sheer black bodysuits clad in fabric scraps, seemed transformed from earlier. No longer were they happy and carefree; instead, the dancers moved with steadfast purpose, some clear end in sight. Shila Tirabassi, as the woman dancing herself to death, jumped, kicked, and paused with sexual abandon, and closing the program, “The Rite Part” drove the evening home with seductive yet fierce imagery.

SF Ballet, Program 2, 2/3/2007

2007-02-05T15:45:00.000-08:00

En Fuego. Sort of.

San Francisco Ballet, Program 2
“Blue Rose,” “The Dance House,” “Firebird
Saturday, February 3, 2007, 8PM

This past Saturday evening, it may have been cold and lifeless outside, but the idea of seeing a whirl of high-quality dance brought warmth and excitement to my heart. While some of my newfound inner warmness could possibly be attributed to the recent dinner of miso soup, warmed lotus root, sake, and spicy sushi, my point is that I felt slightly toasty, my thoughts were warm, and I saw red hot, as in San Francisco Ballet’s choreographer-in-residence Yuri Possokov’s “Firebird.”

This new version of “Firebird” hit the spot for what could have been a chilly San Francisco outing, and while it conjured up images such as the Princess and Bowser from Nintendo’s “Super Mario Brothers,” the Phoenix from “Harry Potter,” and the Orcs from “The Lord of the Rings” all rolled into one, Possokov’s “Firebird” conveyed a fantasy all its own. Helping Tiit Helimet’s lovesick Prince rescue his “fairest of them all” Princess (Rachel Viselli) from the clutches of Pascal Molat’s in-need-of-rhinoplasty Kaschei, Yuan Yuan Tan’s orange-wigged, body suit-clad Firebird displayed a rare tenderness that exuded from every limb: an extended arm, a gentle attitude, and a soft yet powerful stare. Possokov’s choreographic skills seem to improve each go-around, and “Firebird” is no exception, infusing folk dance seamlessly with traditional ballet while also adding a comedic touch every now and then. There is continuity throughout without seeming repetitive, and his inclusion of relative props and intriguing yet minimal set design (by Yuri Zhukov) contrasted with Stravinsky's traditional score is a refreshing change. Authoritative without being too serious and mystical with a dash of comedy, this is one bird that gets the worm.

The two other works on the mixed bill didn’t quite have the power that “Firebird” did. “The Dance House,” David Bintley’s introspective take on AIDS within the dance community, debuted on SF Ballet’s stage 13 years ago. Facing reality head on, “The Dance House” abstractly explores not only the contagiousness of the disease, but also the reality that we are all connected to each other in some way whether small or large. Molly Smolen, in the adagio with Tiit Helimets, displayed lovely liquidity through her port de bras and développés. Tina LeBlanc and Kristin Long both shined in roles they originated, and Gonzalo Garcia’s “Patient Zero,” while reckless and crazed, seemed a somewhat fitting portrayal. Today, “The Dance House” can be viewed on a more macro level, with the concept ably being applied to other current day situations such as the impact of global warming, war, and racism, and it’s this ability that makes “The Dance House” work on a larger scale.

Artistic Director Helgi Tomasson’s “Blue Rose,” which is set to music by Elena Kats-Chernin and premiered last year, probably should have stayed in the past. The choreography feels uninspired, often flat, and if I may be so bold, a bad copy of Mr. Balanchine’s worst works (hip swivels and parallel cou de pied positions abound). However, Vanessa Zahorian and Nicholas Blanc added a buoyancy to the work, infusing a crisp energy to a rather bland piece of fare, and Natal’ya Feygina (piano) and Roy Malan’s (violin) accompaniment proved zesty.

“Firebird” anchors this program well and lives up to its entertainment and story telling potential. Adding balance to the evening, “The Dance House” does a 180°, making us face reality instead of hiding in a fantasy world. Overall (and even with the addition of “Blue Rose”), SF Ballet seems to be on track for the season.

A few other things to note. First, Guennadi Nedviguine is now Gennadi Nedvigin. Have I (and everyone else) been spelling his name wrong all these years? Time to update my spell checker. Second, if you’re waiting for will call tickets, be prepared to get yelled at, whether you’re old or young, and forced to reform your line out the door, down the steps (with no hand rails or assistance for the elderly and disabled) perpendicular to the entry doors, and along Van Ness.

Sankai Juku, SFP/YBC, 11/14/2006

2006-11-15T22:49:00.000-08:00

Mirror, mirror, on the wall, these are the fairest of them all.

Sankai Juku
Kagemi: Beyond the Metaphors of Mirrors
Presented by SF Performances & Yerba Buena Center for the Arts
Performed at YBCA Forum
November 14, 2006

Butoh is more than dance; it incorporates theater and a feeling of meditation, which transforms one from being a passive audience member to a spiritually active one. Seeing Sankai Juku’s Kagemi: Beyond the Metaphors of Mirrors on Tuesday night, I truly felt transformed in both body and spirit. Entering Yerba Buena Center for the Arts’ Forum, my date and I were awestruck by the softly lit, life-size white lilies floating effortlessly onstage above a creamy white platform. In fact, I grew quite giddy trying to count them before the show, finally settling on a number roughly in the range of many several dozen or more-than-50-less-than-80. At the same time, faint music trickled in through the speakers and the glow from the flowers’ outlines created a calming pattern of dark circles on stage, transporting me to a cream-colored Japanese-influence version of Disney’s Fantasia. All this, and the official performance hadn’t even started yet.

Sankai Juku’s well-deserved return to the Bay Area (it’s been 5 years) was nothing short of magical. The seven clay-covered dancers included Ushio Amagatsu (the company’s founder and artistic director), Semimaru, Sho Takeuchi, Akihito Ichihara, Taiyo Tochiaki, Ichiro Hasegawa, and Dai Matsuoka. Beginning with a single dancer, the work ebbed and flowed like a school of fish on a journey, venturing toward a very self-satisfying yet personally enriching and transitional climax. What struck me most was the care and dedication each performer committed to and how they moved with the music and each other: lifting an arm, tilting their heads, finding a driving rhythm, walking purposefully backwards and forwards. The intricacies that we don’t normally see or pay attention to came alive in this performance, and were enhanced even more by the canopy of lilies (which were lifted high up yet not out of sigh early on in the performance), Satoru Suzuki’s warm golden lighting, Masayo Iizuka’s variations-of-white “costume realization,” and an original and varied score by Takashi Kako and Yoichiro Yoshikawa.

The company received a well-deserved standing ovation from the sold-out crowd, and San Francisco Performances and Yerba Buena should be commended for bringing such a high quality company back to San Francisco. Hopefully Sankai Juku can return for a longer run next time, proving more people the opportunity to share in their wonderfully rich and introspective style.

Photo by Sankai Juku

Lines Ballet, YBC, 11/4/2006

2006-11-06T22:11:00.000-08:00

Lines Migrates Two Steps Forward, One Downward Facing Dog Back

Lines Ballet
November 4, 2006
Fall Home Season
Migrations and Sky Clad

I have a secret to admit, and it’s no small one. Sure, I don’t have a secret baby girl who I’ve shuttled off to Alaska to live in the wild raised by grizzly bears. And no, I do not have a secret shrine complete with disco ball devoted to the ever-changing dance styles of Madonna. But what’s true is that I’ve lived in San Francisco for over five years, and hadn’t seen Lines Ballet in performance until this past weekend. That’s right. Yours truly was an Alonzo King newbie. Thankfully, though, I wasn’t a dance newbie. Otherwise, I’d think the evening’s theme was boyshorts (seemingly the preferred costume choice for King’s men).

The program’s highlight proved to be King’s stateside premiere of Migration: The Hierarchical Migration of Birds and Mammals, set to music by Pharoah Sanders, Miguel Frasconi, and Leslie Stuck. The nine dancers began their migration by taking flight (or perhaps hatching out of their shells) on the floor, arching their backs and gracefully flailing their limbs. In fact, there was a lot of graceful flailing throughout, but coupled with sweeping lifts, circular hip swivels, and quick parallel passé sautés, it took on a more gratifying importance, one of upward movement, forward thinking, and ascension.

King’s duet for Meredith Webster and Brett Conway spanned more towards the “mammals” migration. With long extensions, intricate yet striking partnering, and a tenderness not seen in traditional ballet, Webster and Conway showcased a more animalistic edge, one that appeared more grounded and earthy instead of the airiness seen in the other bird-like section.

King’s San Francisco premiere of Sky Clad didn’t make a splash (perhaps like a sea lion or some other marine mammal) like Migration did. While the live music of Hindustani vocalist Rita Sahai with accompaniment by Rachel Unterseher (violin/viola) and Debopriyo Sarkar (tabla) sounded inspiring, the musicians were situated in the pit facing the dancers, and it was difficult to even see them. Had I not known they were there, I probably wouldn’t have even realized the music was live. Perhaps situating them at a better angle on the side of the pit could play up the live factor a tad bit.

The loss of “live music” effect wasn’t the only aspect that fell flat. King’s movement, compared to that of Migration, felt superficial, incorporating some of his choreographic trademarks such as flowing spins, jutting hips, and fully extended grand battements with a slew of yoga and traditional Indian poses. That’s right, downward facing dog and eagle pose combined with ballet and contemporary dance don’t quite mix. The dancers, though, saved Sky Clad from migrating too far down the food chain, and they committed to the movement with attack and grace.

Migration has potential, and I’m glad I’ve finally added Lines’ to my repertoire. Plus, King’s dancers impressed me with their technical feats (and feet) and artistic abilities, and I look forward to seeing the company migrate onward.

Photo by Thomas Ammerpohl

Batsheva Dance Company, YBC, 10/26/2006

2006-10-29T12:32:00.000-08:00

Batsheva’s “Third” a Stormy Experience on a Cloudless Night

Batsheve Dance Company
Presented by San Francisco Performances
Performed at Yerba Buena Center for the Arts
Thursday, October 26, 2006

Batsheva Dance Company, one of Israel’s premier modern dance companies (and originally founded in part by Martha Graham in the late 60s), returned to San Francisco after a 2-year hiatus, and as its last visit had been hyped to oblivion, I was psyched to see the company. Not quite high school, cheerleader “P-S-Y-C-H-E-D” psyched, but still, I felt as though I was walking on clouds prior to the performance. Unfortunately, by the end of the night, these clouds had turned into patches of light fog and drizzle, yet in metaphor only. Outside the weather was warm and the sky star-filled.

The evening’s program consisted of Artistic Director Ohad Naharin’s 70-minute “Three,” which explores the three themes of beauty, nature, and existence. Technically, the company’s dancers performed admirably, with long, lean limbs, beautiful extensions, and an adept ability to grasp quick gestures with gritty realness. But while there were moments of choreographic genius, such as the 1^st solo, which incorporated spot-on timing with insightful and at times gripping movement, and for that much, the entire first movement, which combined everyday pedestrian-ness with artistic flair, much of the rest of the work looked to still be in the editing stages. However, as this work premiered early last year in Tel Aviv, I knew this not to be true, and I left feeling like someone had punched my brain in the stomach. Is this even possible?

The entire second section consisted of the company’s women dancing in unison. For the entire 18 (approx.) minutes. At a very, very dulling pace. Accompanied by the music of Brian Eno. Luckily, the dancing of Daniel Agami, Ia’ara Moses, Adi Zlatin and Gili Navot kept me awake and someone interested, but I felt transported back to grade school, where everyone danced together while following the pacing of the front dancer, and my mom would be sitting somewhere in front ready to pick out which unitard-clad dancer (the one with the curls and massively thick glasses!) was hers. Sigh, the good old days.

The third section definitely was an improvement on the second, but again, it felt static and unfinished while focusing on some amateurish moments, such as black-outs with no real purpose during a potentially promising duet. Later, when the dancers mooned the audience and provided flashes of frontal nudity (hello, pubic hair!), all I could think of was “Huh?”

On the technical side, the lighting by Avi Yona Bueno was bright and airy, complementing the white dance floor and grey block-like set frame while providing an additional “realness” to the dancers’ every movement. Bueno created lovely shadows while playing up the stark contrast between the dancers and their large space. Costumes by Rakefet Levy, though, left something to be desired. The J. Crew, tank top, polo shirt, Capri, cargo short look is fine, but not if the dancers look like they just grabbed whatever was lying on the floor that day (really, a hot pink short-sleeved turtleneck, several different muted-color tank tops, and an orange polo shirt a costume design does not make).

“Three” will most likely not get the editing or make-over it needs to transform from a body of ideas to a statement of art, but hopefully when the company next returns, it’ll provide a little more thunder and lightening to accompany the R-E-S-P-E-C-T it likely deserves.

Photo by Batsheva Dance Company

David Dorfman Dance, YBCA, 9/23/2006

2006-09-25T10:16:00.000-07:00

Politically Charged underground Plants Roots
David Dorfman Dance's underground
Presented by Yerba Buena Center for the Arts
September 23, 2006

Yerba Buena Center for the Arts kicked off its new Worlds Apart series with the Bay Area premiere of David Dorfman Dance’s underground. Using the 1960s Chicago activists the Weathermen as an impetus, underground, at a tight 50-minutes, provides an introspective look at the fine line between protest and terrorism, the feeling of apathy, and how each of us makes a difference today and in the future.

While Dorfman is a master of dance, he’s also a leader of incorporating movement and ideas into complex performance works, and underground is no different. Combining dance, song, text, and video documentary, Dorfman has created a thought-provoking work. His use of organizing bodies on stage may seem chaotic, but purposeful as well. Dorfman often placed his dancers into clusters or lines, perhaps in representation of groups of protesters versus army units lining up for battle. Dancers marched in circles, reminding us of the continuous need for action, and they often did this in pairs, riding home the idea that if we support each other, we may be more successful. This idea crept up again from time to time, from leaning on someone to pushing or encouraging them to stand up for their beliefs. Circles carried over into the more choreographed movement, with dancers performing hip swivels, spinning lifts, and spins with a sense of freedom and abandon.

Text and imagery played an important part in the “wholeness” of this work. At one point, Karl Rogers asked questions of the artists, and depending on their responses, they danced forward or back, somewhat like an icebreaker you might play at college orientation. Throughout underground, the use of a raised arm, a hand, took on profound significance as both a form of participation and a request to stop, and dancers spoke the word “now” in a whisper and a shout, emphasizing that our decisions at this exact moment affect everyone else to some degree. Jonathan Bepler’s score proved varied and moving, similar to a heartbeat at times and others like a lullaby rocking a baby to sleep.

One additional feature of underground was the use of local dancers as the corps. The dancers seemed competent and well rehearsed, and they blended nicely with the company’s performers.

The title underground seems to fit the work perfectly, and not just because of Sean Green’s Academy Award-nominated documentary The Weatherman Underground. Underground represents where we plant our roots and how we gain the nutrients to grow and survive. Can we grow if we stay silent? And if we have no roots, no convictions, no feelings or beliefs, do we then default to apathetic indifference?

The company’s post-performance discussion was particularly enlightening and many audience members from the full house stayed. Of particular note was how to move underground forward and have it seen by more audiences, and how to gain corporate support for such a controversial work (interestingly, David Dorfman’s presentation at YBC was sponsored by United Airlines).

David Dorfman Dance will next perform underground October 28th, 2006 at Connecticut College’s Palmer Auditorium.

Photo by Gary Noel
Dancer: Joseph Poulson

here comes the scribe

2006-09-19T09:43:00.000-07:00

assignments were handed out the other day, and i've got a nice mix of modern and ballet. see "upcoming reviews" to the left for more details.

mentally checking out

2006-08-03T15:51:00.000-07:00

pointe shoes, slippers, and bare feet is on hiatus through the summer! until it returns, feel free to visit my other two blogs, which are full of un-witty banter and good cheer:)

shake ur groove thang
the bullpen baker

SF Ballet's "Sylvia," 4/22/2006

2006-04-26T23:05:00.000-07:00

A Slight Error in Eros
San Francisco Ballet’s Sylvia
Saturday, April 22, 2006, 8PM

Last year when I heard that Mark Morris’ Sylvia wouldn’t be presented during San Francisco Ballet’s 2004-2005 Season, I was bummed. Was it the orgy in the woods, the confusion of nymphs with potential nymphos, or the drunken topless slaves that did Sylvia” in? After 30 seconds of debate, I came up empty and moved on with life as I knew it. But luckily a year later, SF Ballet decided to bring the shirtless minions and story of female empowerment back to the stage.

I enjoyed Sylvia the first time I saw it. With Megan Low as a charismatic and youthful Sylvia, she easily convinced everyone to root for her, and had we been at a baseball game, there would have been foot stomping, drum beats, and the wave. Morris’ version spotlighted the story; it served as the primary focus, with the choreography more about imagery and ideas as opposed to superfluous sautés and promenades. (The choreography itself seems much debated, with several saying that Morris’ ballet knowledge is flimsy at best, but I disagree. Maybe they haven’t seen A Garden, Sandpaper Ballet, or Later, but trust me, Morris knows ballet, and it seems in Sylvia he decided to take a more organic, au natural approach to the majority of the movement vocabulary.) In short, your heroine needs to be believable in addition to a superb technician, and that is where this past Saturday night’s production failed.

Yuan Yuan Tan is no doubt an amazing dancer, with steady balance, a lofty presence, and extensions that reach beyond the pillars. Way back when, in Lar Lubovitch‘s (also modern-based and highly debated) Othello, she played the naïve card, with batting eyelashes and a big grin, and it worked, but this persona hasn’t been seen since. More recently she’s been known for her cool demeanor on stage, and not her girly, likeable personality. It’s tough to want Sylvia to find love when she literally looks like she wants to kill Aminta, who was played boyishly yet fully by Gonzalo Garcia. Now here’s someone whose performance quality speaks leaps and bounds -- he can perform technical feats with unabashed maturity yet exhibit the look and feel of a young boy in love with just a simple développé.

The supporting dancers proved willing and able, and while much of the movement is more modern based, there are still lovely attitude turns, arabesques, and piqués that remind us this is a top-notch ballet company. Jaime Garcia Castilla, as a last-minute substitution, served as our golden boy Eros. While not as warm as James Sofranko, he appeared ethereal and a good match to the goddess in silver, Muriel Maffre’s omnipotent Diana. (And did you know that Eros and Diana have the same tailor?) Brooke Taylor Moore, whose technique continues to evoke crispness, performed admirably as Sylvia’s friend, and several corps/soloist members stood out as ones to watch, namely Lily Rogers, Courtney Elizabeth, and Nutnaree Pipit-Suksun. Yuri Possokov, whose dancing career is on its last legs with retirement in sight, played the sketchy yet lonely Orion, and I couldn’t tell which he was grasping for more: his performing career or Sylvia. Martin West led the ballet's orchestra in a rousing and lustuous performance of Léo Delibes' score.

Syliva, while very true to the original story, varies from the traditional ballet in many ways, but as always, the success lies in all the pieces coming together, including the featured dancers. It’s not just about the dance, but also the theater, the dramatics, and the emotion, all combined into one big event that you hope will leave you elated but could just leave you hanging. The big picture is there, though, along with hope that other casts will succeed where this once didn’t quite gel.

Doug Varone and Dancers @ YBCA, 4/7/2006

2006-04-08T15:27:00.000-07:00

Varone and Company Rise to the Occasion
Doug Varone and Dancers
April 7, 2006 8PM
Yerba Buena Center for the Arts

15 years in the making, and Doug Varone and Dancers have returned to San Francisco. I wasn’t here the first time, as I was in middle school and probably off at a slumber party order pizza and talking about first kisses. But last night’s performance inspired me to hopefully catch the company again before another 15 years goes by. Presented at Yerba Buena Center for the Arts by San Francisco Performances, the company of nine dancers (including Varone himself) swept in for the first night of a three-performance run featuring three West Coast premieres, all focusing somewhat steadily on relationships and couplings.

The big hit of the night proved to be Varone’s Castles. With Prokofiev’s hauntingly eerie Waltz Suite, eight dancers paired up and flew around the stage with each other in a powerful dance of match, mismatch, and rematch. I had fleeting memories of the ballroom scene in Cinderella, processional and all, with each dancer searching for his or her special someone. The duet between Eddie Taketa and Natalie Desch proved particularly moving with emphasis on the pause, the thought, before each one advanced upon the other. And not only was their reflection and care evident with each place of a hand or the curve of the back, but Varone’s choreography proved thoughtful in itself. There’s no superfluous moves, no unnecessary gestures, no extra bold lighting cues. Instead, the dancers, the dance, and the costumes and set design-- it all comes together into a statement of hope and continuation, fully seen at the end with a flurry dancing spotlighted by the warm and touching lighting design by Jane Cox and Joshua Epstein.

Varone’s Rise, choreographed in 1993 and commonly referred to as the company's signature work, opened the program. Set to John Adams’ minimalist yet moving Fearful Symmetries, the work spotlighted four distinct couples dressed in violet, purple, teal green, and red. Emphasizing freedom of movement and solid release technique, the dancers overlapped in a smart study on the flow of motion. From mile-high leaps to steady balances in arabesque and supported lifts overhead, these dancers didn’t stop; even in a “resting state,” there’s plenty of emotion and dedication in their faces, presence, and line. Time doesn’t pause, and neither does the dance, with the pace charging onward and upward with fierce determination.

The Thing of the World showed us that Varone isn’t just about large group pieces that make you lean on the edge of your seat for 28 minutes. A duet for Varone and John Beasant III, The Thing of the World focused on what happens to a relationship when things go wrong. Stressing repetition in slightly different situations, we saw that not only do things not always happen according to plan, but that many times our emotions and actions get out of control, to the point of disastrous results. While including more gesturing and posturing than full on dance phrases and not as visually stimulating as Rise or Castles, The Thing of the World is an interesting study in its own right.

Doug Varone and Dancers marries contemplative, intricate choreography with talented dancers in what might be one of the most successful modern dance performances I‘ve seen for awhile. Yet Friday’s house looked only half-full at best, so let’s hope others catch on as well. While New York City is lucky to be home to Doug Varone and Dancers, San Francisco has received a gift with these three performances, and let’s hope that they return again soon.

Photo by Phil Knott

ODC @YBC, Program 1, 3/4/2006

2006-03-10T10:20:00.000-08:00

ODC,(Not) As Easy as 1-2-3

ODC: Program 1
Yerba Buena Center for the Arts
March 4, 2006

It’s March, which could only mean one thing. No, not preseason baseball. Or the Oscars. Or my grandmother’s birthday. No, it’s the return of ODC to Yerba Buena Theater with it’s annual Dancing Downtown series. This year marks the company’s 35^th, and to help celebrate, Joanna Berman, former principal dancer with San Francisco Ballet, will be performing in Brenda Way’s “Part of a Longer Story,” scheduled on Program 1 of this three-program series.

The Forum looked full Saturday night, and the crowd definitely contained a heightened energy. Prior to curtain, there were giggles, hugs, and chats (not to be confused with the conversations among a chatty foursome behind me throughout the evening), and it sounded like most people, rightly so, were most excited to see Berman “back in action.” Thankfully (and undoubtedly), Berman delivered, helping to elevate the evening from ordinary to something special.

“Part of a Longer Story,” divided into 3 parts, is set to Mozart’s Clarinet Concerto in D. Way choreographed the Second Movement (1993) prior to the First (1995) and Third Movements (2002), but this isn’t why it stood out among the other sections Saturday night. Berman’s technically and emotionally driven performance with Private Freeman elevated the movement from basic ballet-based positions to connected thoughts that portrayed the romance and elegance of modern dance. And no, I didn’t mean for this to rhyme. Berman’s attitude turn wasn’t just an attitude turn, but she gave it feeling and purpose. As she moved, each position appeared to connect to the next, with transcending liquidity and lacking time yet enveloping space, sort of like when you pour honey out of a jar. Berman expressed herself through her body as opposed to with it, and this is what made watching her so special.

The rest of “Part of a Longer Story” just didn’t compare. Perhaps it’s unfair to compare the company dancers, who are mainly younger and have less stage experience, to Berman’s more mature and complete performance. Yet I think Berman elevated Way’s choreography in a way that only she could: with an exceptional performance.

Way also debuted “time remaining” with music by Ara Anderson, and Iron and the Albatross. “time remaining” supposedly focused on the exploration of the “loss of individual will, manipulation and the lure of righteousness.” Had I not read that in the brochure, I would never have guessed. I really thought this was “Project Runway” meets modern dance. Not until the last few minutes, when dancers changed into potato-type sacks, did I even begin to realize “time” wasn’t solely about fashion; yet everything preceding screamed “fashion”: dancers in linen-like white clothing, partnering sequences with dressforms, a designer and his muse (which perhaps wasn’t a muse after all), and clothes falling off to reveal a canvas (or in this case, those canvas-like sacks). Way tackled an interesting subject, but I’m not sure if her construction provided the appropriate canvas needed.

K.T. Nelson’s “Lost at Sea” returned this year, and while I enjoyed it, I felt last year’s performance has more sparkle and overall continuity. There’s a constant struggle between moving ahead or in some other direction or tangent, and Nelson’s partnering and group work succeeds in transporting her movement from thoughts to solid, conceptual ideas. Also, newcomer Apprentice Elizabeth Farotte performed with clean attack and languid lines and is a wonderful addition to the company. In fact, during one of her first entrances, for a few seconds, I thought she was Joanna Berman. Now how’s that for a compliment?

ODC continues with Program 2 (I'll be there on the 10th), and I'm hopeful that things will look up. Perhaps my expectations are high, but in comparison to last year, I feel that the dancers aren't as strong technically and the choreography a little too predictable. Here's hoping this anniversary season rises to the challenge of more than just matching Berman's prowess on the stage.

KUNST-STOFF at YBCA, 2/10/2006

2006-02-11T10:58:00.000-08:00

Sight Slightly Unseen

KUNST-STOFF
Presented by Yerba Buena Center for the Arts
February 10, 2006, 8PM

Photo by Andy Mogg

Yannis Adoniou’s KUNST-STOFF, a local dance-theater company, is known for their risk-taking and originality. But with all risk-taking, sometimes you get a bang and others a bust, and the ensemble’s two-day run at Yerba Buena kicked off last night with only a slight rumble.

The program opened with the world premiere of Adoniou‘s rough-around-the-edges “as we close their eyes” which was created through a partnership with The Lighthouse for the Blind and Visually Impaired. Examining the essence of “seeing,” the performers explored the perception of movement through sound, breath, touch, and text. One of the most poignant sections occurred during a duet for Kara Davis and Jose Campos. With impeccable timing, they supported and complemented each other through a series of various turns, lifts, and gestures. On stage, Sheldon B. Smith and Leslie Schickel accompanied them vocally, each providing their own verbal interpretation of what they saw. One might say “arabesque” while the other describes the moment as “lifts her leg,” proof that words, no matter how accurate, never quite paint a full and vivid picture, but that they also define what you do or not perceive to be happening. Other parts, such as the live camera work and sound-producing wire, though, cried out for more foresight and fleshing out, and the work overall felt underdeveloped.

More successful, however, was Adoniou’s “In-Sight,” which premiered in 2004. Displaying striking photography by Cara Judea Alhadeff, Adoniou continues to explore perspective, but this time through a more abstract manner than “as we close their eyes.” Again, what struck me was Adoniou’s intuitiveness into partnering. Here his creative juices, along with Jethrow DeHart’s pulsating sound score, flowed and excelled, and Adoniou pulled out little threads of rhythm and inspiration that he only hinted at in his group and solo choreography: more than his modern play on classic yet contorted ballet positions, greater and intricate positions, complex timing, a unexpected placement of a hand on the leg. The partnering displayed an attack of the actual movement, the in-betweens that we sometimes miss, the perspective of the dance. It’s this that propels “In-Sight” forward from concept to execution and above and beyond “as we close their eyes.”

Yannis Adoniou is on the right track. His ideas have merit, and he can obviously choreograph like no tomorrow. With more development, “as we close their eyes” could greatly succeed in helping to promote and expand our understanding of our senses and their ability to enhance our state of being, and these two works together would be a boom of an evening.

The Kirov Ballet's 'The Sleeping Beauty' at CalPerf, 10/2005

2006-01-11T15:09:00.000-08:00

Potential sleeper depends on Aurora to keep us wide awake
The Kirov Ballet at Zellerbach Hall
Presented by CalPerformances
October 12, 2005

The Kirov Ballet returned to Berkeley last night with Konstantin Sergeyev’s “The Sleeping Beauty.” Based on Petipa’s choreography and including “fragments” by Fedor Lopukhov, the October 12th performance served as a Diana Vishneva tour de force. Her Aurora proved to be the highlight of the night, and made me glad I traveled via MUNI and BART to see her come of age, draw blood, slumber, and after much beauty rest, find love with a man who wears golden slippers and, thanks to some technical help, hits a bulls-eye on the first attempt.

Vishneva’s interpretation added magic to the air, and while this is normally a fairy’s job, no one could outshine her. She convincingly transformed from 16-year-old ecstatic teen to confused spindle pricker and then wise, love-stricken bride. All eyes followed Vishneva from step to step, and while the corps de ballet’s missteps were minor, they greatly lacked the oomph and zest which Vishneva provided. Uliana Lopatkina’s Lilac Fairy served as a nice balance to Vishneva’s dynamic Aurora. Appropriately bathed in a bright lavender spotlight throughout, Lopatkina displayed steel will and languid limbs, and this Lilac Fairy differed from the sprightly fairies of days gone by; her mature portrayal displayed an urge to provide protection and guidance, a mystical mother figure if you will. Trust me, don’t mess with her or she’ll arabesque you! Carabosse, played rather creepily by Igor Petrov, discovered this on several occasions.

One of Vishneva’s most glorious moments came in Act I where she piquéd into attitude and then relevéd into attitude entournant, adding a side cambré and making the entire movement seem circular and all-encompassing. She continued this sweeping image through each step, and her développés, passés, and pirouettes seemed never ending. This magnified when, dancing with her Prince Desiré (Igor Zelensky), she was on pointe in a low penché with the same spiral-like side cambré, and Zelensky held onto her hip softly while pulling away and promenading her, emphasizing the curve of the movement while displaying trust between the two dancers. Zelensky’s Price combined nobility with humbleness. His dancing, while crisp, contained a natural elegance that shone through constantly, such as in a set of chaîné grand jetés in a large circle, but came to fruition in his partnering sequences. Dancing with Vishneva, he held her softly yet steadily, and they made a spectacular pair onstage.

Other dancers stood out, particularly Yana Selina’s effervescent Lightheartedness Fairy and flirty Puss (the cat), Viktoria Tereshkina's polished Diamond Fairy, and Yana Serebriakova’s shining Sapphire Fairy and poised Courage Fairy. Anton Korsakov’s Blue Bird fluttered about with strong brisés and lovely pointed toes, but his Princess Florina (Yulia Bolshakova) had issues taking flight. The sets added a needed ambiance and featured a sprawling golden gate (not the kind we have in San Francisco), a springtime garden full of greenery, and a sepia-toned forest. In addition, the Orchestra overcame a sloppy Prologue and played well for the remainder of the evening

Vishneva’s Aurora conveyed beauty in an infinite amount ways, but it couldn’t conceal some of the major imperfections. The Kirov brought the older “Beauty,” as their new version doesn’t fit on U.S. stages, yet this one still looked cramped (perhaps due to the multitude of well-coached students on loan from San Francisco Ballet School) on the Zellerbach stage, and at three hours and 40 minutes, this “Beauty” treads on overstaying its welcome. Overall, the dancers looked tired and lacked energy, and it was the three leads, particularly Vishneva’s divine interpretation, that kept me awake and wanting more.

Compagnie Jant-Bi 'Fagaala,' YBC, 10/2005

2006-01-11T15:08:00.000-08:00

Compagnie Jant-Bi 'Fagaala'

Reflecting on the past and looking towards the future
October 7 , 2005
Yerba Buena Center for the Arts, San Francisco

Germaine Acogny’s Compagnie Jant-Bi landed with a bang in San Francisco Friday night. Acogny, choreographer and “mother of contemporary African dance,” along with Japanese choreographer and Butoh-trained Kota Yamazaki, weaves a multidimensional and thought-provoking combination of dance, music, and theater into an inspirational evening-length work for seven male dancers entitled “Fagaala.” Currently touring the US and Australia, “Fagaala,” which means genocide in Wolof, the Senegalese language, claims inspiration from the genocide in Rwanda but doesn’t seem to judge or criticize past events. Instead, it takes us on a journey of the human experience during this violent period.

While I initially balked at combining contemporary modern movements, African dance, and Butoh-inspired dance into one seamless movement vocabulary, Acogny and Yamazaki succeeded in their effort, presenting a contemplative array of ideas in a loose yet directional framework. Jant-Bi’s seven dancers, Babacar Ba, Cire Beye, Abdoulaye Kane, Pape Ibrahima Ndiaye (Kaolack), Ousmane Bane Ndiaye, Tchebe Saky, and Abib Sow, performed admirably, with crisp technique and a passion for performance. They displayed a power onstage that is rarely seen. There’s a moment early on, when the cool lighting changes to a warm, golden hue, and the dancers stare into the audience with a look of longing and reflection, but when the mood shifts back to blues and grays, their faces reveal the cold, harsh reality of life as a conglomerate of solitary moments fused together. The dancers’ physicality extended beyond the forearm cartwheels and back headstand walkovers to capoeira-style kicks, modern lifts, hip rolls, and curvatures of the back. Throughout, they emphasized the physical body as a representation of the individual and the masses and visions of masturbation, sexual conquests, murder, and birth populate the work. Genocide tore apart these bodies, these people, in a raw and vulnerable way, and it further affected how they viewed themselves and everyone else around them.

One of the final segments brings many of these ideas together in a unique way. The dancer who earlier with his shirt covering his face gyrated his pelvis back and forth for four minutes in a spotlight of pale yellow light, returned to the stage covered in chalk-like dust, resembling a statue or the body of the deceased. Downstage, he moved at varying speeds, jumping, swaying, and gesturing, and as he did so, dust would lift off of his body and extend into the audience, the wings, and the stage, emphasizing that we are all connected, and while this travesty occurred in the past, it is not forgotten. We have a common responsibility to correct the errors of the past and create a better, more accepting world instead of one where genocide is condoned.

Not everything, though, works in “Fagaala.” For example, long drapes of fabric are overused in contrived manners, such as running from wing to wing being held above the head or draped over a dancer suggesting ominous things to come. But this is trivial compared to the rest of the work which exceeded my expectations and had the gears in my head spinning from the end of the performance through now. “Fagaala” truly presents compelling and provocative images in a multi-faceted, rousing, and exciting performance, and I hope it inspires and affects others for years to come.

West Wave Dance Festival, Program 9, 7/2005

2006-01-11T15:07:00.000-08:00

Wild (yet) Mild West
West Wave Dance Festival
Program 9 at ODC Theater
July 30, 2005

A few weeks ago, I saw Program 2 of the West Wave Dance Festival, and while sparsely attended, the majority of the choreography infused originality with maturity. Last night at the opening of the two-day run of Program 9, the audience filled all of the seats and more. Perhaps this was a preview of things to come, as the works presented were not nearly as fulfilling as those of Program 2.

Two pieces stood out above the rest. With energetic and poignant music performed live by Sekou Alaje and Garno Da Paz (composed by Alaje and Ajai Jackson) and powerful vocals by Rhonda Benin, Kendra Kimbrough Barnes’ excerpt of Enduring Legacy, based on the death of her mother, combined traditional African dance with modern movement into an abstract retelling of a memory of her mother. Barnes’ choreography never stopped flowing, and her dancers’ (Shelley Davis, Clairemonica Dixon, Kelly Kennard, Latanya Tigner, and Barnes) ability to move from one genre of dance to another was quite impressive.

EmSpace’s Erin Mei-Ling Stuart presented an excerpt of How to See Red, a work that focuses on consciousness and the attempt to contemplate and understand what goes on inside of our heads. With costumes by Leigh Anne Martin that resembled an Anthropologie catalog, Stuart’s dancers, from a raised arm to sitting Indian-style, exuded a physical and emotional professionalism not seen anywhere else during the evening. Inventiveness, structure, and developed phrases tend to be Stuart’s strengths, and How to See Red proved to be a great example of this. While the overall work is still unfinished, I can’t wait to see the final product, which premieres later this October at Dance Mission.

Heidi Schweiker, a dancer in both Margaret Jenkins’ and Janice Garrett’s dance companies, presented the premiere of Come Rain, a solo for herself accompanied by an original score by local music extraordinaire Daniel Berkman. Her directional choices peaked my interest; she progressed from sharp and jagged to soft, sensual, and reflective, and her movements were focused, deliberate, and thoughtful. But Come Rain appeared more as a movement study than as a choreographic work. The debate between these two is for another day, however. Nancy Karp’s Trio Set, performed by Christy Funsch, Diane McKallip, and Anne-Lise Reusswig, felt like a placeholder. Based to some degree on the play Three Tall Women and with minimalist movement reminiscent of the early 80s, Trio Set focuses on graceful dancing that builds up and then POW, changes direction or focus. While some aspects are successful, I felt that the dancers never quite related to each other; instead, there were three separate entities dancing onstage instead of a trio. The first work of the evening was by Moving Art’s Michael Lowe with the premiere of Ghost, Life Unfinished, a fictional work that is abstractly based on the life and death of Teresa Teng, a popular Chinese folk singer. Lowe attempted to fuse traditional ballet with Chinese folk dance, but the outcome appeared superficial and unclear. Much of Lowe’s focus was on actual classical ballet positions and flexed wrists and not on the movements in between, and I felt uncomfortable watching the work, as though I were looking at pictures of Caucasian women dressed up as an American’s traditional image of a Chinese woman (black bob wig, white face, white cheongsam) with the addition of pointe shoes. Lowe has received a lot of praise for his choreographic skills, so I hope this work is simply a fluke of nature.

Overall, Program 9 presented some worthy choreography, but I feel that the expansion of the festival has caused some of the quality to be watered down. In both programs that I viewed, there was one piece of choreography that was clearly not up to the level of the others. Perhaps the festival needs to revamp how works are selected, who presents on the emerging choreographers’ program, and who presents at all. Even with the below-average selections, I believe that the festival as a whole offers Bay Area choreographers a supportive and intimate forum to present their work. Let's hope the festival is a little more focused next year.

Bolshoi Ballet's 'Romeo and Juliet' at CalPerf, 11/2004

2006-01-11T15:06:00.001-08:00

Marriage of Old and New Lacks Innovation and Cohesion
November 5, 2004, 8PM
Zellerbach Hall
Presented by Cal Performances

Lar Lubovitch’s “Othello” and Mark Morris’ “Syliva” are two examples of contemporary retellings of stories from days gone by. They combine ballet, modern, and folk movements to create a new version of what we thought we knew. While potentially controversial and not for all tastes, they have succeeded in a new telling of the old. I had similar hopes for the Bolshoi Ballet’s “new” take on “Romeo and Juliet.” While I knew that the work didn’t include tutus or pointe shoes, I hoped that something new would present itself.

Directed by British theater director Declan Donnellan and choreographed by Moldavian Radu Poklitaru, the Bolshoi’s modern “Romeo and Juliet” echoes of “West Side Story” (The opening scene made me want to snap my fingers and sing “When you're a Jet…”) meets movement theatre. With a minimalist storyline, we meet Romeo, Juliet, a cross-dressing Mercutio, and an incestuous Lady Capulet (with Tybald, no less). The basic plot, though pared down to the necessities, stayed the same: Boy meets girl. Boy and girl fall in love on the spot. Family pouts and stomps. Etc. etc. etc.

Simply put, this “Romeo and Juliet” is no ballet. Probably the most disappointing aspect of “Romeo and Juliet” is the fact that dance itself (whether it’s ballet or modern) failed to make an appearance. Sure, there’s movement, but it is pedestrian and is continuously repeated to the point of becoming ineffective. The ballet steps are fleeting, and seem inconsistent with the more ordinary and quirky movements, often in unison, that fill the rest of the work. The lone arabesques, pirouette variances, and sautés that are utilized are interspersed in between posing, rash arm movements, and unsupported choreographic choices; this causes a lack of momentum throughout the piece. While corps dancer Anastasia Meskova as the naïve Juliet seemed the most at ease, the entire company had trouble delivering the Broadway dance-type sequences, Britney Spears pelvic gyrations, and flexed-feet requirements. What a shame, because they’re obviously trying! The corps is used well, at time representing townsfolk, the two warring families, and the supportive foundation of a budding relationship, but perhaps a more experienced choreographer would have developed the movement vocabulary to a higher degree. Instead, it appeared elementary and muddy. This confusion also transcended to the costuming, which ranged from top hats and tails to Company B-type outfits and “Stepford Wives” dresses; the lack of consistency again detracted from the overall performance. Maybe minimalist costuming, like the interesting and underused cubic and rectangular set design, would have helped.The Bolshoi Orchestra, though, performed Prokofiev’s score admirably with ease and energy.

The Bolshoi’s “Romeo and Juliet” feels more like a theatre piece. The static direction and lack of choreographic imagination hinder the work’s development, and it’s one that doesn’t break new ground or present an original view of the traditional storyline. From gyrations and posing to random breakdancing moves, the choreography lacks a maturity that we have come to expect from one of the top international dance companies. While the full house at Zellerbach seemed to enjoy the work, I feel that Donnellan and Poklitaru’s version did little to enhance the storyline or dance prowess normally associated with this ever-traditional ballet.

West Wave Dance Festival, Program 2, 7/2005

2006-01-11T15:06:00.000-08:00

West Wave Dance Festival - Program 2

The Waves Come Crashing In
July 14, 2005
ODC Theatre, San Francisco

The West Wave Dance Festival has returned to San Francisco for its 14th season. Composed of nine programs over two and a half weeks, the Festival presents new, emerging and established Bay Area choreographers at the ODC Theater and the Cowell Theater at Fort Mason Center through July 31st.

Program 2 included three world premieres and two additional works. Definitely a standout, John Kloss’ toe-tapping “Measured Response” combined crisp sounds with varied rhythms to create a build-up of melodious energy that burst at just the right time. Lisa Townsend’s choreography always embodies structure, originality and freshness, and “can i want it?” is no exception. With music composed by Piro Patton, the six dancers moved with speed, purpose and agility, and Townsend’s sense of choreographic maturity was the highlight of the night.

Lori Bryhni, on the faculty at Modesto Junior College, presented her “Familiar Voices in Tender Passing.” While her dancers, all students at MJC, were highly competent, the choreography itself combined an excess of modern dance clichés: running in a circle; big, jazz-like straddle leaps; and chaîné turns into big jetés. Bryhni’s dancers were also caught in the shadows at times, perhaps because the blue-toned lighting design by Michael J. Sundquist was originally set for a different theater.

In contrast, watching Annie Rosenthal Parr and Ashley Holladay’s “Field,” to music by Tin Hat Trio, I felt transformed to a large wheat field where women were running about under the starry sky somewhere in the middle of nowhere. Parr and Holladay showcased strong, physical movement such as sweeping grande battements and developés into scissor-sharp arabesques, and the lighting, wind effects, and props were smartly used.

Huckabay McAllister’s Jenny McAllister premiered “Don’t Open Until Christmas,” a quirky take on all things merry with a wonderful musical score by Danny Elfman, Huey P. Meaux, and Garrison Keillor. While not as intricate as “can i want it?”, McAllister’s zany ride through Christmas via modern dance, gestures and parody gave a sense of lightness without becoming too bubblegum sweet.

Program 2 contained a variety of modern and contemporary movement styles, and I am excited to view Program 9 at the end of the month. For more information about the West Wave Dance Festival, visit www.danceartsf.org.

'Barred from Life' at USF, 9/2004

2006-01-11T15:05:00.000-08:00

More life could be infused into "Barred from Life"

"Barred from Life"
University of San Francisco
Thursday, September 23, 2004

This week, "Barred from Life," which premiered at Santa Clara University earlier this year, is being presented by the Performing Arts and Social Justice Program at the University of San Francisco and the Golden Gate University of Law. Conceived by David J. Popalisky, professor of dance at Santa Clara University, and Cookie Ridolfi, director of the Northern California Innocence Project and instructor of law at Santa Clara University,"Barred from Life" examines wrongful conviction through video and dance. The work's premise is interesting and thought-provoking, and with the right blend of artistic choices, has the opportunity to succeed.

Unfortunately, most of the video moments stand out as the highlight of the work. The exonerees' stories breath life into the piece, providing gritty details and a slew of emotions. This is where the investigative aspect of the work lies: hearing how social status and ethnicity play critical roles in wrongful conviction. Throughout the video sequence, a fictional exoneree's story is interwoven with these true personal tales. Using actors to portray a plausible wrongful conviction seems phony, and this doesn't have the same honesty nor impact that the genuine stories do. Perhaps using scenes from a movie, documentary, or music video could have had a better and more realistic effect.

Similarly, the dance aspect was severely lacking in this sense of realness. Choreographed and performed by Popalisky, the movement is slow and uninventive, combining classical movements such as attitude turns and low battements with contractions and poses. Most of the time, he mimics the plausible exoneree's story, which gives the dance elements a strong literal quality. Had he emphasized the emotions the exonerees felt while using more abstract movement, the choreography might have pushed the overall work forward rather than becoming a static element to the piece.

While the dance and movement detract from the overall message, "Barred from Life" tackles a topic of great concern, and the documentary film segments do a great job conveying this issue. With some retooling, "Barred from Life" could become a successful and educational piece.

"Barred from Life" will be performed Sunday, September 26th, at 7pm at Presentation Theatre at the University of San Francisco.

West Wave Dance Festival, Program 2, 7/2004

2006-01-11T15:04:00.001-08:00

Program 2
ODC Theater
July 23, 2004, 8PM

Summerfest/dance's mission is "to provide veteran and newly-established choreographers of all cultures and disciplines, in and beyond the Bay Area, an opportunity to present their work in a professional venue in order to experiment, develop, and refine their repertories, and to build audiences without the burden of self-producing." This year, Summerfest/dance's West Wave Dance Festival, held jointly at ODC Theater and the Cowell Theater, showcases 22 choreographers and includes 15 world premieres. Program 2 opened Friday night at ODC Theater and included works by Lisa Townsend Company, Deborah Slater Dance Theater, Scott Wells & Dancers, Brittany Brown Ceres, EmSpace Dance, and Company Mécanique.

The sold-out program opened with Slater's "TRIO (in the space between)", set to music by Erling Wold, Thom Blum, and St. Germaine. Based on a painting by Alan Evans Feltus, "TRIO" is a work for three dancers and utilizes text by Deborah Crooks, balls, and chairs. The movements varied between very circular movements, such as contractions and rounded arm positions, and intricate balances on the chairs. While the balances were impressive and unusual, I felt that they could have been better woven into the greater scheme of the work, which felt unfocused and unpolished.

Following "TRIO" was Scott Wells' "Duet in three parts: Fun. Struggle. may-be Beauty," danced by Gabriel Forestieri and Christine Cali. Emphasizing a relationship's progression, Wells used strong lifts and weight balances to represent the give-and-take aspect to great effect. Forestieri and Cali danced with great control, and their use of breath added a realness to the pure physical movement presented.

Next was Britanny Brown Ceres' "Wandrian," with music by Chalres Amirkhanian. Dressed in busy-patterned yet flowing garments by Linda Brown, the 6 female dancers wove in and out of intricate patterns with ease and agility. Ceres developed and expanded her release movements through the incorporation of canon and repetition, yet the work did not become dull. Instead, it created a sense of urgency towards the climax of a new place, of change and resolution.

Opening the second half of the program was one of the more successful pieces of the evening. EmSpace Dance's "Songs for You," is a dance about 6 paranoid people trapped in an empty room, choreographed by Erin Mei-Ling Stuart with music by The Mountain Goats/John Damielle. Stuart's thoughtful and unexpected choreographic choices were refreshing and unique. And while the strategically placed duct tape and use of brick wall were visual reminders of being physical stuck, the movement still contained a great abstract quality.

Lisa Townsend's "that i am not you" was set to music composed by Piro Patton and spoken word by Tom Patton. "that i am not you" is an excerpt from the upcoming full evening work entitled ENVY Project. Townsend and Alisa Rasera performed Townsend's choreography with great energy and conviction.

The final performance of the evening was Sara Shelton-Mann's "Eddy/ against the main current," which was the only non-premiere of the evening. Performed by Company Mécanique Dance Theater, this work integrated insightful text by James Kass and dynamic music by Daniel Berkman. Shelton-Mann's choreography and phrasing used circular patterns and arcing movements to convey ideas of progression, regression, and revolution. The dancers' motions seemed effortless and, combined with the powerful side lighting, appeared continuous like a never-ending story.

Program 2 of the West Wave Dance Festival is diverse choreography-wise, presenting performance art, live music, and interesting and creative movements well. But the one aspect that disappointed me was the lack of ethnic diversity. Ethnicity was pretty much a no-show, with no asian american or black dancers, and I cannot remember the last dance performance that I have seen where this was so apparent. Hopefully, the upcoming programs will be more representative of the dancer community.

Program 2 repeats tonight, July 24th, at 8PM at ODC Theater. Programs 3 and 4 will be presented at the Cowell Theater at Fort Mason Center. For more information, visit www.summerfestdance.org or call 415.863.9834.

Christine Cali and Gabriel Forestieri, Jon Sims, 8/2004

2006-01-11T15:04:00.000-08:00

The Sound That Comes Out
Choreographed and directed by Christine Cali and Gabriel Forestieri
Performed at the Jon Sims Center for the Arts
August 13, 2004

We walk through our everyday lives connected to our earth: breathing its air, bathing in its water, and walking on its turf. Some of us recycle, plant trees, and light our days and nights with solar energy. Perhaps you even own one of those newer Energy Star appliances or a hybrid vehicle. Not often, though, do we think about how we are connected to the planet. Sure, the hippies down in the Haight do, but the common person rarely contemplates about where that uneaten food goes (how about a compost?) or what you can recycle. And just a few months ago, the question of environmental dance works, and were there any, came up. This was a tough one! Why had there not been a lot of dance works created specifically exploring our environment and issues surrounding it?

Christine Cali and Gabriel Forestieri’s new multi-disciplinary work “The Sound That Comes Out” fills this void with an intricate work that explores social and environmental issues. Combining dance, spoken word, satirical drama, video, song, bicycle ballet, and live music, this performance piece explores support systems, the disconnect between thought and action, and our relationship with the earth as a symbiotic (and often lopsided) one. This idea of “give and take” is prevalent throughout the work, but is most clearly seen in Cali and Forestieri’s duet where their use of contact improv, speed, and realness showed a relationship that utilized space and time to its fullest. Cali and Forestieri danced and sang with refreshing abandon while also moving together with responsiveness and an understanding of how their bodies related to each other and, on a larger scale, to the earth. One of the most intriguing segments was a dance for four, dressed in corporate-type button down shirts covering the dancers heads. They chugged on the floor like they were driving cars, gyrated their hips, and performed an impressive Roger Rabbit. I remember the Roger Rabbit; my friends and I did it at bar mitzvahs and dance parties. It was probably one of the hokiest hip-hop moves around, yet everyone loved it because everyone else was doing it. Like my girl friends and I doing the Roger Rabbit, these “stuffed shirts” danced like they couldn’t see what was truly going on around them; they were simply bodies going through the motions rather than being aware of their surroundings, and the smart choreography and costuming worked wonders.

The non-dance aspects were just as enjoyable and thought provoking. One small skit involved Cali dressed in a cocktail-type red dress repeatedly eating delicious looking chocolate cupcakes until she looked sick and ashamed. I felt this spoke to the average person’s tendency to take things at face value without questioning its validity. We are force-fed material everyday in ads, newspapers, magazines, music, school, etc. Yes, some people complain, but not many do anything about it. They just walk around feeling guilty, yet progressive action or change in behavior rarely occurs.

The live music, performed by Tim Frick (composer) on bass and guitar; Dan Cantrell on Rhodes and accordion; Mike Ramos on guitar; and Ben Tuttle on drums and glockenspiel infused energy into the work. Accompanied by video by Benjamin Connelly of Monopod Productions and a performance by the San Francisco Bicycle Ballet, this work certainly left no rock unturned. From a Material Girl adorned in trash (with great looking tulle heels) to headless dancers, “The Sound That Comes Out” intertwined dance, drama, and song to create an introspective performance piece. It’s too bad that Cali and Forestieri are moving to New York, but it is for a good cause. The dancing duo be working on their master’s at NYU, and from the looks of things, they’ll be creating many insightful works to come.

Dandelion Dancetheater, Jon Sims, 7/2004

2006-01-11T15:03:00.000-08:00

Dandelion Dancetheater
Undressed Project: "illusive" and the Bay Area premiere of "Night Marsh"
Jon Sims Center for the Arts
July 2, 2004

Henry David Thoreau once wrote, "I stand in awe of my body, this matter to which I am bound has become so strange to me."

Created through a series of residencies at the Jon Sims Center for the Arts, Eric Kupers' three-year Undressed Project, performed by his and Kumiko Guthrie's company Dandelion Dancetheater, focuses on the human body. Each segment of the project is performed naked, allowing the human form to take center stage, not in an erotic way, but in a manner of investigation and appreciation.

This final program opened with Kupers' "illusive," which premiered in 2002 as part of the Project's initial phase. Performed by Kupers with live text spoken by Susannah Richter, "illusive" explores the preconceived notions of what we expect a dancer to look like. Kupers, with an atypical body, does not fit into these constrictive norms. He has dreads, short legs, and jiggle. But, we see that his leaps are pure, his attitude turns contain flow and balance, and his movements create an effortless rhythm from beginning to end. Why, then, do we believe that the image of our physical body should inhibit or encourage our ability to dance? And how can we begin to change these notions? Through its text and reflective choreography, "illusive" points out our immediate dance-related biases and begins to strip away our expectations of what a dancer is.

Following "illusive" is the Bay Area premiere of "Night Marsh," the third and final installment of the Undressed Project. A work for 15 dancers with choreography, direction, text, and video by Kupers, "Night Marsh" continues the exploration of the body, focusing on body image, beauty, and death. These performers are not your typical dancers with perfect feet and chiseled abs. They are dancers of all shapes, sizes, colors, ages, sexualities, and abilities. In short, they are real people, and this realness extends to their bodies. We do not see dancers in costumes or dressed in layers. There is no hiding behind cloth. Instead, they dance in and of themselves: in the flesh.

Kupers uses nudity to great effect, recognizing the body's own movements, its own sense of being. As the piece progresses, we follow Debby Kajiyama through an exploration of the physical body; we look at its force, flab, and fascinations. Taking on a whole new meaning, the human form's nuances shine through. Solos, duets, and group work convey personal and physical meaning. One potent example is near the beginning of the piece, where a young woman performs a solo. There is emotion running from the top of her mohawk down through the tips of her toes. As she extends an arm outward and lowers her eyelids slightly, you do not just see her body. There is more inside, a consciousness that joins who she is with what she is, and we recognize that these two cannot be separated. Repeated at the end of the work accompanied by text, it takes on an even deeper meaning. Another dancer that catches the eye is Jacques Poulin-Denis. His graceful movements and supporting lifts and positions stand out among the group; the fact that he uses a prosthesis seems to disappear. The group sections are incredibly strong. Use of flashlights in the opening sequence eases the audience into the idea of watches dancers in the flesh. Later, the dancers emote a powerful energy as the corps follows a woman in an exploration of the breast. Hey, everyone has them, even men!

Kupers selected diverse styles of music by local Bay Area artists to accompany each section, but the music that had the greatest impact was the dancers' own bodily accompaniment of singing, changing, slapping, stomping, and spoken noises. Through these self-produced sounds, the dancers reemphasized that the body is not just a shell.

A few parts of "Night Marsh" could still use some tweaking. One aspect is the video journey of Kajiyama from bodily birth to death. While a great idea, we also follow Kajiyama in the flesh. This is a lot more interesting and has a greater impact on the overall concept. While the video usage at the end of the piece is strong, the journey itself does not support the work, but instead slows the piece down. "Night Marsh" could also benefit from some choreographic edits; there are instances where the vignettes become a little long and repetitive. By trimming a few of these and adding more connections between each section, Kupers might be able to create an even more potent work.

Performed in an intimate atmosphere with everyday dancers, "Night Marsh" faces bodily stereotypes and explores body image issues in a constructive and artistic way. There is no perfect body, and there is no one way to perform a movement. Stressing inquiry and acceptance over quick judgment provides a safe haven for body exploration. Overall, Dandelion Dancetheater's "Night Marsh" conveys a successful conclusion to the Undressed Project.

The performances of "Night Marsh" and "illusive" will conclude this coming weekend with performances at 8pm and 10pm on July 9th and 10th at the Jon Sims Center for the Arts. Tickets are $10-$15 (sliding scale). For tickets, call 415.554.0402.

SFBS, 5/2004

2006-01-11T14:59:00.000-08:00

San Francisco Ballet School
Spring Student Showcase
May 20, 2004, 8PM

San Francisco Ballet School’s Spring Student Showcase was aptly held at the Palace of Fine Arts. Outside swans glided across the lake, and one might think it was a sign of the purity of dance to be found inside.

The performance began with short class-like demonstrations accompanied by Alla Gladysheva and Laura Tishchenko on piano. Each plié, tendú, and relevé was given the utmost care and attention. As the levels progressed, the movements became more complicated while the students’ abilities and growth became more evident. Level 4 Girls (Group IV of the program) exhibited gorgeous épualement not seen in the lower levels. Christopher Oullette, in the Boys III (Group V) section, demonstrated incredible flexibility and strong presentation. The level 6 Women (Group VIII) performed a Balanchine-inspired section, displaying strong technique, impressive lines, and passion. No small feat (feet!) for these young ladies.

George Balanchine’s Donizetti Variations, with music by Gaetano Donizetti, closed the first half with Andrea McGinnis and Ryan Camou dazzling as the principal couple. McGinnis danced with precision and grace; her double pirouettes into a sauté entournant were beautiful. Camou performed with speed and energy. Rachel Maher, as one of the soloists, had a refreshingly radiant quality to her dancing.

Opening the second half was Passing Fancies, a world premiere choreographed by 20-year-old Avichai Scher. Scher, a former student of SAB and SF Ballet’s summer program, has choreographed works for the New York Choreographic Institute, ABT Studio Company, and The Washington Ballet. Utilizing music by French composer Yann Tiersen, Scher, a promising young choreographer, created a large group piece for 24 dancers. While this was an avid attempt, I felt that the corps sections were uninteresting and predictable, depending on an incredible amount of unison and canon. While Scher seemed to explore more possibilities with the principal roles such as innovative lifts and various rhythms, I feel that he could have extended his movement vocabulary to the corps. In lead roles, Courtney Hellebuyck danced with maturity and conviction, and Shannon Roberts was exciting to watch in her zest-filled variation. In their duet, Daniel Benavides was a gentle and gifted partner to supple Shannon Maynor. Logan Learned, who will compete at the upcoming Adeline Genée International Ballet Competition, had buoyant jumps and an effervescent smile.

Nest, Kelsey Hellebuyck and Daniel Cooper performed the “Bluebird Pas de Deux” from Helgi Tomasson’s The Sleeping Beauty with music by Tchaikovsky. Helleybuyck showed great control and smoothness in her double piqué turns, and Cooper’s beats and carriage was impressive. Last on the program was excerpts from Tomasson’s Handel – A Celebration, set to music by George Frideric Handel. While Handel features a large number of dancers, it didn’t have that showstopping power that one would hope for in a closing work. But, the dancers were committed to the movements and appeared to be enjoying themselves on stage, even with a few bobbles here and there. Sandy Brown, dancing the female solo surrounded by 6 men, commanded the stage throughout every step, moving with purpose and fluidity. In the men’s duet, Jason Chinea and Anthony Spaulding were well matched. Both had strong technique and more importantly, they danced together as a pair, even in their pirouettes.

Each group of students, from the younger ones to the more advanced groups, impressed me. Thought went into each group, variation, and choreographic work. And, it is evident that many of these students have a promising career in ballet. Soon these swans will take flight.

San Francisco Ballet School will be presenting the repertory portion of its Showcase on Sunday, May 23, 2PM at the Esplanade Gardens as part of the Yerba Buena Gardens Festival.

SFB's 'Sylvia,' 5/2004

2006-01-11T14:57:00.000-08:00

San Francisco Ballet
Program 8 – “Sylvia”
May 9, 2004, 2PM

San Francisco Ballet’s production of Mark Morris’ “Sylvia” came to a close on Sunday afternoon. This version of “Sylvia” brought several firsts to the Opera House, including the first full-length ballet by Morris for a ballet company; the first full-length “Sylvia” to be shown on a U.S. stage; and initial principal roles for corps de ballet members Elizabeth Miner and Megan Low. There were also a few lasts, namely final performances for soloists Leslie Young and Sherri LeBlanc and corps de ballet member Caroline Loyola who are all retiring.

The curtain opened on a beautifully constructed set of lush green panels; tall grass; a shiny "pond"; a wonderfully painted scrim consisting of blooming flowers and greenery; and a prominent statue of Eros, the god of love and desire. Setting the tone for the afternoon, dryads (wood nymphs) in brown/green dresses leaped about, satyrs (male inhabitants of the woodlands) in furry animal leggings jumped with eagerness, and naiads (water nymphs) in dreamy pastel dresses with reflective head pieces fluttered about the stage in an amusingly flirtatious and overly drawn-out romp. Guennadi Nedviguine, as the shepherd Aminta, showed incredible control and ability. He used his soft plié; large, effortless jumps; and mature quality to display purity and elegance throughout his portrayal. Megan Low, as Sylvia, danced with a nice blend of crisp attack, solid technique, and fresh joy. While Low does not possess ultra-bendy limbs or unusual tricks, she emoted an effervescent energy combined with a great sense of comic timing throughout her dancing. But, there were times when she seemed lost and overwhelmed.

In Act II, Orion courted Sylvia in his expansive cave dwelling, complete with a sliding boulder door and luminescent rock-like panels. With just enough facial hair, brown textured pants, and a fitted shirt, he looked like the menacing hunter he was supposed to be. As Orion, Pierre-François Vilanoba presented a dark contrast to Nedviguine’s Aminta. Vilanoba’s Orion was sinister and lonely, and with only 8 dim-witted male slaves to keep him company, who wouldn’t be? Orion’s slaves received the royal treatment, with impressive yet hideous make-up and brown sack-like pants. Their movements were distorted and inane while also entertaining and enjoyable.

The final act used stark white columns, stairs, beams, and pillars erected for Diana, Bacchus, and Eros to portray a planned spiritual gathering. Ruben Martin and Garen Scribner danced the roles of the Heralds. Scribner, an apprentice, was a good match for Martin’s smooth and articulate dancing. Muriel Maffre portrayed a regal Diana. Dressed in silver, she was a cool contrast to James Sofranko’s golden boy Eros. While Sofranko’s costumes and choreography were a tad kooky, he shined as the mythological fairy godfather to Sylvia and Aminta, performing Eros and his slew of aliases (Sorcerer and Pirate) with charm and abandon. The orchestra sounded superb, and conductor Anthony Mogrelia should be commended for a wonderful performance.

Morris’ “Sylvia” is not traditional. But, what is traditional about Mark Morris? Each set of characters is distinctive and developed. The villagers’ dance is reminiscent of folk dance, while the slaves move in a slouched and somewhat miserable manner. Sylvia embodies depth, leadership, and vulnerability. And, while Aminta’s development seems limited internally, he acts as a catalyst for Sylvia’s personal growth. While lengthy, Morris’ “Sylvia” tells an old story in a new way. Using striking sets, innovative and often modern-based movements, and pantomime, Morris has produced an intriguing ballet. “Sylvia” is not scheduled for SF Ballet’s 2005 season, but I hope that it returns to the repertory soon. It deserves to be shown again.

SFB, Program 6, 4/2004

2006-01-11T14:54:00.000-08:00

San Francisco Ballet
Program 6: Square Dance, Stravinsky Violin Concerto, Who Cares?
April 3, 2004, 8pm

Even though the audience would soon be losing an hour of sleep, they were wide-awake for San Francisco Ballet’s Saturday evening performance at War Memorial Opera House. Seats were mostly full, and attendees varied from young to elderly, single to families, and dressed casually to dressed to the nines. At times an entire evening of Balanchine can feel repetitive, but the three works presented offered variety as well as excellent dancing.

Program 6 opened with Balanchine’s Square Dance, set to music by Antonio Vivaldi and Arcangelo Corelli, and as the curtain opened on the corps de ballet, true dance ignited on stage. Feet and arms pointed with precision, and each dancer’s movement was full of breath. Tina LeBlanc, as the female principal, exhibited excellent carriage and technique as she flowed through the difficult chorography with an effortlessness rarely seen on any stage. Joan Boada, as her steady partner, danced with polish. But, it seemed he was thinking too much about the choreography and initiated the movements from his limbs instead of moving as a whole body. Female corps members Frances Chung, Megan Low, and Dalene Bramer displayed gorgeous technique along with a wondrous feel for the music. Pablo Patino, Garrett Anderson, and Jonathan Mangosing showed wonderful lift in their jumps and tight 5ths throughout. The lighting was fresh and complemented the pastel costumes nicely, lending a sense of openness and directness to the choreography.

Second on the bill was Balanchine’s Stravinsky Violin Concerto, set to music by Stravinsky (of course). This work contrasted nicely with Square Dance. Instead of what traditionalists would call pure dancing, Stravinsky Violin Concerto contained more angular positions and extremeness of the limbs. Innovative positions were used to create a more abstract movement vocabulary. Muriel Maffre and Pierre-Francois Villanoba danced Aria I with steadiness. Villanoba seemed to suffer from the same malady as Boada, using his limbs to propel and place him instead of moving from the center of his body. Maffre, whom I normally enjoy, looked emaciated, and perhaps it was because of the skin-tight costume. But, her performance was difficult to watch. In Aria II, Yuan Yuan Tan and Damian Smith easily performed Balanchine’s choreography as if it were second nature. Tan danced with a certain “come-hither” attitude that drew the audience in with every movement, and Smith presented each step and phrase with great conviction. In the corps, Elana Altman and Rachel Viselli displayed grace and security, and Mangosing’s and Karill Zaretskiy’s clarity of movement stood out among the men. Roy Malan performed the violin solos with ease.

Last was Balanchine’s Who Cares? set to music by Gershwin. Yes, the costumes and backdrop sets are a little bright and dated, but it is spring, so get used to the colors. They’ll be around for awhile. Stephen Legate was a gentle partner for all of the women, and he performed with a great Broadway style that wasn’t too showy or flashy. While his role was not as technically demanding as some of the other principals of the evening, he danced with such refinement and charm that I could watch him move for hours. Lorena Feijoo performed “The Man I Love” and “Fascinatin’ Rhythm” technically well. But, her arms seemed to be displaced from the rest of her body, moving harshly and without direction rather than softly as the rest of her body was. Vanessa Zahorian danced “Sweet Embraceable You” with an alluring quality I never knew she possessed. Her technique continues to amaze me, but so does her personality that is beginning to emerge quietly from within. Katita Waldo, in “I'll Build a Stairway to Paradise" performed with maturity and zest. Waldo seemed more comfortable in this Balanchine-meets-Broadway style than Zahorian and Feijoo, and because of this, I found her to be my favorite of the three lead women. In the corps, Megan Low, Dalene Bramer, and Frances Chung impressed me again, dancing with joy and excellent technique, and Courtney Elizabeth’s personality projected throughout the entire work. Brett Bauer and James Sofranko performed with suave style.

Overall, the corps looked well-rehearsed (thanks to Bart Cook and Sandra Jennings), and the principals appeared comfortable. With SF Ballet’s Balanchine Centennial celebration, Helgi Tomasson and San Francisco Ballet have proved that the legacy of Balanchine continues to live on today.