Smuin Contemporary
Ballet
The Christmas Ballet
Yerba Buena Center for
the Arts Theater, San Francisco
December 21st,
2018 (matinee)
Celebrating the past and
looking towards the future has been a theme at Smuin this year, with the
contemporary ballet company marking its twenty-fifth anniversary season. That
sentiment certainly rang true in 2018’s edition of The Christmas Ballet, which is just about to finish its annual San
Francisco run at Yerba Buena Center for the Arts. Featuring thirty distinct,
festive dance vignettes, the two-part wintry revue paired choreographic
favorites from years past with more recent additions as well as two world
premieres. As always, the performance moved along at a brisk pace - if a
particular dance or piece of music wasn’t your speed, something new would be
along in short order.
Ian Buchana and Mattia Pallozzi in God Rest Ye Merry Gentlemen Photo Chris Hardy |
If you’re a fan of
traditional ballet vocabulary and sweeping scores, Act I’s ‘Classical
Christmas’ is a great fit. The cast is costumed in sparkling, bright white; the
staged is adorned with large billowy fabric swaths; and the subtle lighting sets
a demure mood. Several works stood out amongst this first group of fifteen.
Terez Dean Orr and Robert Kretz in company founder Michael Smuin’s Hodie Christus Natus Est were the
epitome of elegance and grandeur. One cannot ignore the abundance of lovely
lines and steps, but what sets this pas de deux apart are its unexpected
moments. Supported jumps had surprising landings, finishing en pointe but with
the leg in pliƩ; lifts would spin backwards with the shoulders being the only
point of connection between the two. Longtime Smuin Choreographer-in-Residence
and now the Artistic Director of Sacramento Ballet, Amy Seiwert’s Caroling, Caroling, Bright, Bright
tackled the complex pas de cinq configuration, and in doing so, revealed its
compositional potential and promise. Premiering this year was former company
artist Rex Wheeler’s God Rest Ye Merry
Gentlemen, a duet danced by Mengjun Chen and Ben Needham-Wood at this
matinee. While the choreography itself was a bit busy for my taste, the pairing
of Chen and Needham-Wood must be acknowledged. They can do it all – turns,
jumps, batterie, balances – and in such precise unison.
Delightful Celtic
influences also found their way into The
Christmas Ballet’s classical offerings. An ensemble dance choreographed by
current company dancer Nicole Haskins, Fantasia
included a hearty dose of delicate petit allegro – cabrioles abounded as did
Italian changements. Fueled by a waltz clog rhythmic base, Smuin’s The Gloucestershire Wassail contributed
its own Celtic flair, coupling fast footwork with a quiet upper body. I loved
the choreography in each, but in addition, both dances brought a tone of
community, playfulness and fun to an act that tends to be more reflective and
earnest in quality and atmosphere.
Valerie Harmon and Peter Kurta in Meet Me in the City on Christmas Photo Chris Hardy |
Speaking of fun, Act
II’s ‘Cool Christmas’ was filled with it – musical theater style vignettes,
vivacious characters, an impish Christmas tree, even surfers avoiding a shark. The
packed house (on a Friday afternoon no less) was enthralled and entertained by
the festive mosaic, as was I, though I was more pulled to the dancier episodes
and less to the novelty ones. Another work by Haskins, J-I-N-G-L-E Bells had some impressive rhythmic depth. I can’t be sure
if this particular rendition of the famed Christmas song was actually composed
in different meters, though the choreography certainly reflected a change in
pulse, making it both riveting and buoyant. With a winning collection of stomp
time steps and cramp rolls turns, Shannon Hurlburt’s Rudolph the Red-Nosed Reindeer introduced yet another rhythmical
element to the program. It’s a super tap duet (danced by Maggie Carey and
Valerie Harmon), though there was a tendency to try and fit too many steps into
a single phrase. But it was the sophisticated, chic, lyrical pas de deux that
were the stars of the second half. Lauren Pschirrer and Needham-Wood, in the
world premiere of company dancer Erica Felsch’s Meet Me in the City on Christmas, were the tops. With starry lights
and a park bench framing the glorious, grand movements, the scene could have
easily been part of an old Hollywood movie musical, and Pschirrer and
Needham-Wood looked absolutely stunning together. Harmon and Peter Kurta were
equally sublime in Seiwert’s River.
Every time I see this dance, that amazing straight-legged fifth position
spinning lift takes my breath away.
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