Tuesday, June 04, 2019


Oakland Ballet Company
Laney College Theater, Oakland
June 2nd, 2019

Ramona Kelley and Kevyn Butler in
Bat Abbit's Sunday Kind of Love
Photo John Hefti
For the past five years, Oakland Ballet Company has closed its annual season in a wonderfully unique fashion. Under the leadership of Artistic Director Graham Lustig, for its final performance, OBC invites the local/regional dance and choreographic community to join them onstage for a shared program, East Bay DANCES. A wide diversity of genre drives this celebration, and with a whopping fourteen excerpts from ten different movement traditions, 2019’s edition was on point. It is indeed a special event, one that I hope OBC continues to curate and host for years to come.

Act I certainly lived into East Bay DANCES’ broad choreographic intention. From the charming patterns of American folk/square dance to emotionally charged contemporary works to percussive Middle Eastern dance forms to a modern ballet duet that challenged gender dynamics, the sheer variety was undeniable. There was something for every taste. And none of the pieces were overly lengthy, which meant that if something wasn’t your cup of tea, something new would be along in short order.

For me, two works stood out in East Bay DANCES’ first half. OBC brought a few sections from Oaktown Blues, a melding of music and movement that was part of their recent Jazz Vistas program. Sunday Kind of Love, a duet choreographed by Bat Abbit and danced by Sharon Kung and Lawrence Chen, absolutely captivated. The laid back, chill lyrical movement felt an embodiment of the Etta James’ ballad – circling torsos, cartwheeling limbs, sweeping lifts and turns, suspension and release. It was an interlude of pure, unhurried bliss. A contrasting, but equally compelling moment, came earlier in the act with Savage Jazz Dance Company’s Yesterday, Today and Tomorrow, choreographed by Reginald Ray-Savage. Costumed in dark bodices and long black skirts, a collective of six women commanded the stage. Struggling motions abounded, as did angsty dynamics and an ominous use of breath. Hand splayed wide like a coven casting a spell. Impressive technique and artistry leapt from the stage: transitional clarity, strong positions, enviable extensions and extreme control.

Still more depth of genre and style was in store in East Bay DANCES’ second act: Dance Theater, Afro Contemporary, mixed media and the ever-dynamic, audience favorite Ballet Folklórico México Danza with their signature percussive rhythms and super human footwork patterns. Again, two of the offerings in this half felt particularly noteworthy. Marika Brussel brought her ballet duet Singing to the Grass (Meant for You), gorgeously interpreted by Mae Chesney and Nick Wagner. While an evocative, dramatic relationship definitely developed between the pair during the short pas de deux, it was the vocabulary itself that struck. Plenty of movements and steps would be classified as traditional ballet partnering. But Brussel also infused the unexpected into the syntax – lush parallel postures and abundant counterbalances that Chesney and Wagner had to work together to achieve. It felt a much more egalitarian approach to the classic ballet pas de deux. And a surprising moment emerged for me as East Bay DANCES neared its conclusion, Linda Steele II’s improvisation, {vyz}’d. What surprised me was how much I loved the composition, when improv is not usually a winner in my book. But Steele was phenomenal. Framed by a shattered light pattern projected onto the stage’s surface and a score overlaid with music and text, Steele moved from one place to another with certainty and strength. Carving out the space, every position was fueled with fortitude, pliability, precision and above all, connection. {vyz}’d was a long stream of riveting consciousness and Steele’s movement quality captured this viewer from the first second and never let go.   

Monday, June 03, 2019

Eifman Ballet

Last dance show at Cal Performances until next season! I caught Eifman Ballet in The Pygmalion Effect for DanceTabs:


Monday, May 27, 2019

San Francisco Ballet School - Spring Festival

San Francisco Ballet School Students perform in
the school demonstration
Photo © Lindsay Thomas

San Francisco Ballet School
Spring Festival
Yerba Buena Center for the Arts, San Francisco
May 24th, 2019

Each year when the curtain comes down on San Francisco Ballet’s final repertory program, a note of bitter sweetness pervades the air. On the one hand, season’s end is a moment to reflect on the range of classical and contemporary work that has graced the stage in the previous months. On the other hand, it means that it will be quite some time before the company returns to the War Memorial Opera House. But SFB enthusiasts can take comfort in the fact that several other Bay Area engagements are part of the company’s annual calendar, like this summer’s Stern Grove Festival appearance and of course, San Francisco Ballet School’s year-end celebration, which ran last week at Yerba Buena Center for the Arts. This year’s school showcase not only included three new works born out of the Choreographic Fellowship Program, but also distinct programs on each night, transforming the production into a three-day festival. I caught the final performance.   

San Francisco Ballet School Students in
Marc Brew's quicksilver
Photo © Lindsay Thomas
As is customary, Act I began with the phenomenal School Demonstration, choreographed and envisioned by faculty member Karen Gabay. As students in levels 2 through 8 shared their talent with the audience, such joy and charm leapt from the stage. From unassuming chaissé tendu and changement to more complex pas de deux and bravura jumps, precision, clarity, elegance and confidence was unmistakable from this inspiring cohort of dancers. The program then moved on to the first of six repertory works, beautifully interpreted by the senior classes and the school’s Trainees. A contemporary ballet for six, Marc Brew’s quicksilver brought many lovely moments, though I think what this dance did best was mine different choreographic configurations. Cycling through serpentine positions and twisty shapes, both cannoned and in unison, we saw a captivating array of duets, trios, solo work and picturesque clusters.

San Francisco Ballet Students in
MJ Edwards' Constant Search
Photo © Lindsay Thomas
A pair of Jiří Kylián compositions ushered in the program’s second act: Falling Angels for the women and Sarabande for the men. While I can’t say for sure if this was the intention or not, Angels had a fascinating intersection where grounded, percussive vocabulary met an old-school Fosse jazz aesthetic, while Sarabande added emotive dramatics to the stage’s palette with high throttle phrases and extreme positions. Next up was Constant Search by choreographic fellow MJ Edwards, set to a Max Richter score (indeed a favorite composer amongst 21st century dancemakers). An ensemble work for nine, Search’s blue-green costumes, swirly vocabulary and skating/sliding motifs imbued the work, framing it with a distinctly aquatic tone. Closing Act II was Helgi Tomasson’s celebration of Baroque music, Concerto Grosso. A quintet for five men, Grosso takes a deep dive into the Baroque tenet of simultaneous independence and interdependence. Each dancer’s choreographic material can certainly stand on its, yet can also be woven with others to create a more layered physical tapestry. And I particularly enjoyed Grosso’s intricate details, like the batterie mirroring the many mordents and trills in the score.

Tomasson’s Ballet d’Isoline took the final place of the evening – a large cast classical offering, complete with corps work, a grand pas de deux and a lengthy variation sequence, also for five men (with the Kylián piece and both Tomasson works, the senior and trainee men were unquestionably the featured group on this program). As had been the theme of the entire night, the dancing was incredibly clean and assured throughout the extensive vignettes and the principal duet by Sunmin Lee and Anicet Marandel-Broutin. I thoroughly enjoyed all the aspects of this excerpt, and with an enviable maturity in their movement, the lead couple were impressive. Though I thought d’Isoline was a bit of an odd choice as a finale. Again, it was danced beautifully, but the work itself just doesn’t exude a finale ta-da quality.

I was excited again to see that women’s voices were heard during the festivities, as they were last year. Gabay’s School Demonstration opened each of the three programs, and Choreographic Fellows Maya Wheeler and Pemberley Olson premiered their respective works on Thursday evening. At the same time, I was equally challenged to see only three female dancemakers in the mix. Friday’s program, in particular, had seven works, of which only one, the school demo, was choreographed by a woman. More work can be done (and should be done) towards gender parity in ballet programming and choreographic commissions. What a wonderful example that would set for the next generation of professional dancers.