Tuesday, September 27, 2022

Smuin Contemporary Ballet

Smuin Contemporary Ballet
Dance Series 1
Cowell Theater, San Francisco
September 25, 2022

Early fall in San Francisco can be unpredictable, climate-wise. One day might be super-hot, and the next, downright wintery. But there are those rare days that are ideal. Warm, sunny and clear, where it seems like the whole city is outside. At least, that’s what it felt like last Sunday afternoon at Fort Mason Center as Smuin Contemporary Ballet closed their first SF weekend of Dance Series 1.

The company looked extremely strong in this program of great range and variety - two revivals alongside a world premiere: Rex Wheeler’s Take Five (2019), Annabelle Lopez Ochoa’s Requiem for A Rose (2009) and Osnel Delgado’s new work, The Turntable. There was much to delight on the Cowell Theater stage, but it was the concept of each piece that stole the show.

Smuin Contemporary Ballet in Take Five
Photo Chris Hardy
Set to a selection of Dave Brubeck tracks, Take Five celebrates the composer’s oeuvre and his fondness for a 5/4 time signature. It’s fun and entertaining. Has a distinct forward propulsion as well as Wheeler’s clever choreographic nods to the piano, the upright bass and the drums. But the genius of Take Five was how the costuming (by Kaori Higashiyama) was used. While the style of costume remained consistent throughout, Wheeler had the cast (five women, five men) constantly donning a new color, signaling a change in musical mood and atmosphere. Bright neon pink framed the high-octane opening and the finale. The choreography for green was sophisticated, smooth and nuanced. Orange heralded in a more spirited and plucky tone, maybe even a little flirty. Blue met with cool, chill, laid back motions. Red brought allure and purple, a knowing sense of nostalgia. Take Five was a splendid opening for the program, though it did have too many internal stops and starts for my taste. 

Smuin Contemporary Ballet in
Requiem for a Rose
Photo Chris Hardy

Originally created for Philadelphia Ballet in 2007, Ochoa’s Requiem for a Rose is one of those very special pieces. For a lot of reasons. Captivating choreography, a sweepingly romantic score and stunning visuals. The work begins with a sole dancer, Tessa Barbour at Sunday’s performance, costumed in a nude leotard with a rose in her mouth, almost like a rosebud. Her movement is sharp and angular, and she dances to a pulsing heartbeat, indicating a manifestation or a birth. Then, she is joined by twelve dancers wearing flaring red knee-length garments, cycling through fluid, soft phrases, accompanied by Schubert. It was as if we were witnessing the life cycle of a bloom – the opening soloist like the stem that was birthing a dozen petals. All the internal variations with their swirling spins and level changes showed how a flower changes over time. How the bloom might shift to the right or to the left; how it might droop and then revive; how it might close and then open again. Requiem for a Rose was close to perfect, the recorded music just needed to be a little softer.  

Closing Dance Series 1 was the premiere of Delgado’s The Turntable, by far the most contemporary piece in the lot. An ensemble work for sixteen, it was again the concept that drew the viewer in. Or at least this viewer. That concept was the notion of turning itself. In addition to having a small turntable center stage and a lighting design (by Michael Oesch) that appeared to rotate on the stage’s surface, the sheer idea of turning was paramount. Seeing something new, experiencing a different vantage point, continual change, all while being anchored to a single point, like a turntable. Most of the cast really leaned into Delgado’s lush movement, while a few looked as though they were having trouble letting go of a classical ballet esthetic. And again, the recorded music was a little on the loud side.  

Smuin Contemporary Ballet in The Turntable
Photo Chris Hardy

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