March 24 through today!

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

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 and review @ the appeal: hope mohr and sf ballet

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

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

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 @ 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

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

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

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

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

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

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

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

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

SFB, Program 8, 4/28/2009

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

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

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

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

SFB, "Jewels," 4/25/2009

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

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

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

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

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

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

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

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

SFB, Program 5, 3/18/2009

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

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

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


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


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

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

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

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

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

SFB, Program 4, 3/12/2009

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

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

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

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

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

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

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

SFB, Swan Lake, 2/24/2009

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

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

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

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

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

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

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

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

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

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

SFB, Program 2, 2/3/2009

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

SFB, Program 1, 1/27/2009

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

SFB's New Works Festival (Program C)

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)

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

A Tribute to SF Ballet, Program 6

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 2

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.

SF Ballet's 75th Anniversary Gala

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