Tuesday, April 17, 2018

Monday, March 26, 2018

San Francisco Ballet - Program 5


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San Francisco Ballet
Program 5
Robbins: Ballet & Broadway
War Memorial Opera House, San Francisco
March 23rd, 2018

It is common at San Francisco Ballet to see Jerome Robbins choreography on the season slate. But this year is special. The prolific choreographer was born one hundred years ago, and ballet companies everywhere are commemorating the occasion. SFB opted to pay homage with an entire Robbins evening – a rare quadruple bill of work created between 1944 and 1979. Much of the Robbins’ material that SFB regularly performs has that quintessential Robbins youth culture and community spirit. This collection was indeed different. While there was one youthful piece and one that literally screamed community, it was the gender dynamics in the program that really spoke.

Individual perseverance and inner strength were at the heart of 1979’s Opus 19/The Dreamer, a work for two principals and a corps of twelve. As the lights rose, Wei Wang cast his gaze towards the stage’s surface. In preparation for his first movement, he sank into a deep demi-plié in fifth position. From there, he took off, executing sumptuous parallel turns and punctuating the space with flexed hands, the choreography initiating from the core and spine. Mathilde Froustey joined the scene in a circuit of long strides, each one slicing through the air with abandon and purpose. The stage glistened with power and fortitude as technically demanding promenades peppered the choreography. And there was a particularly telling pas de deux. Froustey and Wang spent one section mirroring each other’s movement, he, in his enviable demi-plié, she on pointe. They were totally connected throughout the duet, but didn’t actually touch. Again a moment where the strength and resolve of each individual was undeniable.

Set against an ombré blue background, Opus 19/The Dreamer felt emotive to be sure, but was it narrative? I can’t decide. But what did read very clearly was the influence of the modern masters in the choreography – Graham, Limón, de Mille. In fact, structurally, the ballet looks like a tribute to the movement of those artists. Graham’s torso contractions and spirals, Limón’s arched arms and upper body curves; flexed feet poses that looked as though they could have been plucked from Oklahoma’s dream ballet. A fantastic start to the night.

The Cage (1951) was definitely about a community. A pulsating web of twelve female spidery creatures, a newly birthed addition (Maria Kochetkova as The Novice), all led by their queen (Sofiane Sylve). Two men who wander into the scene don’t fare well. Lonnie Weeks meets a quick, violent demise whereas Steven Morse has a different journey. He and Kotchekova enjoy a pas de deux that is actually quite trusting and tender, including a phenomenal seated lift where she appears to fly. But in the end, the pack descends and his fate is sealed.

San Francisco Ballet in Robbins' The Cage
Photo © Erik Tomasson
Much discourse has been proffered over the years about The Cage’s narrative arc, and that dialogue is both important and necessary – commentary that ranges from pack mentality to aggression to self-determination to female power. But on Friday evening, I was more convicted by the SFB artists’ performance of the material. The women’s corps had such mesmerizing feet, articulating through each joint, exactly like a spider might (they were also able to translate that precision to the arms and spine). Sylve commanded the group in several unison sections, their timing appropriately delayed from her potent lead. Kochetkova nailed her characters’ transitory ‘learning’ space. After her birth, she learns how to navigate the space, learns how to walk, and learns where the axis of her body is, all while learning her power and strength. It happens quickly (after all, the piece is only fifteen minutes in length), but that necessary transition is acutely present. And the several instances where the cast opened their mouths in a silent roar were unequivocal statements.

Frances Chung and Angelo Greco in
Robbins' Other Dances
Photo © Erik Tomasson
Time-wise, the pause between The Cage and Other Dances was brief, but the artistic space between the two is cavernous. 1976’s Other Dances is a youthful, playful pas de deux infused with a distinctly folk quality, danced at this performance by Frances Chung and Angelo Greco. Swirling lifts and turns, forward reaching port de bras, and confident suspension/falls all feed into the work’s ebullient tone, while the character sections, with the palm of the hand placed behind the head, the cabrioles to the side contribute the fun. Greco and Chung were a delight – he with incomparable turns that always ended with the accent up, she, buoyant in every balancé and rond versé. Other Dances also has a fantastic egalitarianism. Throughout the ballet, the pair take turns in the spotlight, almost like they are playing a fun game of ‘pass the baton’ during the many solo variations. Theirs was an energetic interpretation of Chopin’s score, though it was strange that they made little to no connection with the pianist onstage with them.

San Francisco Ballet’s Robbins evening closed with the oldest ballet on the bill, 1944’s Fancy Free, where we meet three sailors exploring New York City. Fancy Free tends to be a crowd favorite, maybe because of the retro costumes, scenery and Leonard Bernstein’s score. But I actually find the narrative message to be very disturbing – unrelenting pursuit of the opposite sex, bullying, women being flung around the circle and being pulled into dancing when they clearly aren’t interested. And the disturbing part is not just seeing that behavior; it’s that the ballet seems to almost celebrate and then dismiss it as no big deal. There are a few moments where the dynamic between the women and the men seems genuine and consensual, but these glimpses are brief to be sure. This was in no way anything to do with the cast. It’s just impossible to experience Fancy Free without a 2018 lens, and for this reviewer, with that lens, the ballet is not just dated, it’s inappropriate.