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

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

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

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.

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

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.