tag:blogger.com,1999:blog-300214282024-03-18T13:03:04.094-07:00Dance Commentary by Heather DesaulniersDance Commentary and Reviews by Heather Desaulniers, freelance dance critic, former dancer and choreographer, PhD in dance history.Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.comBlogger563125tag:blogger.com,1999:blog-30021428.post-30663785031295127862024-03-18T13:02:00.000-07:002024-03-18T13:02:30.435-07:00The Joffrey Ballet - "Anna Karenina"<p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG9kWEId4SKkYqwfhwFXGfQplkUwDlbKhPaTaxf6qe1VITqNT_Iwwlg8eW_NJqzWPviNyLiRWZBaiX_gLyqzQY4Fvi5xOBZ96-gx7ZYhefANiaEtdHAorYsIi9zEqa0mzjE0RVHYSvx9Tx8-OWg2tpZ5f_5xTkwr2nvWqjji6ppPjJXPX5Jeee/s1800/1cal-performances-the-joffrey-ballet-cheryl-mann.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1200" data-original-width="1800" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG9kWEId4SKkYqwfhwFXGfQplkUwDlbKhPaTaxf6qe1VITqNT_Iwwlg8eW_NJqzWPviNyLiRWZBaiX_gLyqzQY4Fvi5xOBZ96-gx7ZYhefANiaEtdHAorYsIi9zEqa0mzjE0RVHYSvx9Tx8-OWg2tpZ5f_5xTkwr2nvWqjji6ppPjJXPX5Jeee/w640-h426/1cal-performances-the-joffrey-ballet-cheryl-mann.jpeg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Alberto Velazquez and Victoria Jaiani in<br />Possokhov's <i>Anna Karenina</i><br />Photo Cheryl Mann<br /><br /></span></td></tr></tbody></table><span style="font-family: helvetica;"><br />Cal Performances presents<br />The Joffrey Ballet<br /><i>Anna Karenina</i><br />Zellerbach Hall, Berkeley<br />March 15, 2024</span></p><p><span style="font-family: helvetica;">If you look on my bookshelf, you will indeed find a copy of <i>Anna Karenina</i>, by Leo Tolstoy, procured at the beginning of the pandemic. It was going to be a homebound season, so what better time to tackle such an epic and mammoth novel. Well, four years later and it’s not yet finished. Someday. Thankfully, there are plenty of online resources to fill in the blanks – characters, plot points, overall themes. So, when attending any dance adaptations of the book, I can, for the most part, follow the narrative line. </span></p><p><span style="font-family: helvetica;">This past weekend, Chicago’s Joffrey Ballet brought their 2019 version to Cal Performances on the UC Berkeley campus, accompanied live by the Berkeley Symphony. Choreographed by Yuri Possokhov (well-known to local audiences as the longtime choreographer-in-residence at San Francisco Ballet), <i>Anna Karenina </i>takes the viewer on a wide-ranging emotional journey of duty, yearning, lust, hope and despair. Weaving classic movement with video projection by Finn Ross, song by Lindsay Metzger and stunning scenic design by Tom Pye, the two-act ballet was entirely engrossing. Possokhov had a lot of story to cover in a short time, and he did it. A multitude of scenes unpacked all the action, and each was cinematic, grand and fast-moving without feeling rushed. The motifs were all there: the trains, the idea of flying informing every pas de deux. And the theme of rebelling, resisting, and reacting to the era’s structural, cultural and societal norms was abundantly present all the way to the final blackout. This ballet gets many things right. From the undeniable passion to the compositional structure to the relation of a complicated narrative, if you get a chance to see it, go.</span></p><p><span style="font-family: helvetica;">Act I has a lot going on, but again the transition from one landscape to another was incredibly smooth and well done. Early in the act, we visit Kitty Shcherbatskaya’s (Yumi Kanazawa) home where Possokhov’s choreography really shines. The partnering and solos were clean, inventive and surprising without feeling fussy. It is here that the audience encounters Anna’s (Victoria Jaiani) infatuation and entanglement with Alexey Vronsky (Alberto Velazquez) despite the fact that she is already married with a family. And from then on, the thesis of the ballet is set - the chasm between satisfaction with what one has and the desire for the ‘other’. What follows are multiple large group sequences – ballrooms, train stations, a racecourse. Whether there were too many dancers or too large a set for the Zellerbach stage, the movement within these larger scenes got muddled and crowded from time to time. For me, the choreography was stronger (and quite mesmerizing) when there were fewer people present - smaller groups, solos or the many duets. </span></p><p><span style="font-family: helvetica;">Act II’s first scene was perhaps my favorite of the evening, a brilliant pas de trois between Anna, Vronsky and Anna’s husband (Dylan Gutierrez). What a moment Possokhov built showing the interconnectedness and shared reality of these three characters. Arising out of that trio was an equally moving pas de deux for the two men. Unison phrases indicated and acknowledged how their lives were following the same track – in love with Anna, wanting her, and wanting her to want them. While I found this part of the ballet particularly compelling, I must say that I was totally enthralled with all of Act II. I know this because I barely took any notes. I just wanted to be in the room, witnessing the wonder that Possokhov, his team and the company was birthing onstage. The only spot where Act II lost momentum was during the lengthy epilogue, where the ballet heads to the rural countryside. The urban/rural dichotomy certainly plays a role in the source material, but these were the final moments of the ballet. It felt rushed (and a bit of an afterthought) to introduce a new theme at this juncture. </span></p><p><span style="font-family: helvetica;">The Berkeley Symphony, conducted by Scott Speck, impressively rose to the technical challenges and grand dynamics of Ilya Demutsky’s score. And Metzger’s vocals were equally sublime. Though as often happens when vocalists are paired with a full orchestra, the sound balance isn’t always ideal. When the orchestra was at full volume, it was sometimes difficult to hear the vocal line.</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;"> </span></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-15383706595291788242024-03-14T14:06:00.000-07:002024-03-14T14:06:10.727-07:00San Francisco Ballet - "A Midsummer Night's Dream"<p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuT9MzthCL-DAa-oQdJEiJXtkHBRd2rvY5iDMDQP82J8OP8_K4ySWruXLWMc2FCoqjNz97xYuSK0Zrzq9NXMEimWtngLuF4TyZVWhpaOxpWWM4ZEVwWBlJnUaD890fyWWyZsuY1rx9IQlBWGYe1f_H_u82X0EVjcMLhzMJxn1riEgKXdsE8Eo/s3000/MND2024DRE_LT037.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="2000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuT9MzthCL-DAa-oQdJEiJXtkHBRd2rvY5iDMDQP82J8OP8_K4ySWruXLWMc2FCoqjNz97xYuSK0Zrzq9NXMEimWtngLuF4TyZVWhpaOxpWWM4ZEVwWBlJnUaD890fyWWyZsuY1rx9IQlBWGYe1f_H_u82X0EVjcMLhzMJxn1riEgKXdsE8Eo/w426-h640/MND2024DRE_LT037.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #666666; font-family: "Clear Sans", "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 14px; text-align: start; white-space-collapse: preserve;">San Francisco Ballet in Balanchine's <i>A Midsummer Night's Dream</i>
Choreography by George Balanchine © The Balanchine Trust
Photo © Lindsay Thomas
</span></td></tr></tbody></table><br /><span style="font-family: helvetica;">San Francisco Ballet<br /><i>A Midsummer Night’s Dream</i><br />War Memorial Opera House, San Francisco<br />March 12, 2024</span></p><p><span style="font-family: helvetica;">I think a number of Bay Area dance goers have déjà vu right now. I certainly do. In the first week of March four years ago, I was scheduled to take in two shows – The Joffrey Ballet at Cal Performances and <i>A Midsummer Night’s Dream</i> at San Francisco Ballet. I was super excited for both performances. <i>Midsummer</i>, in particular, for two reasons. In 2020, I had had the lovely opportunity to interview Sandra Jennings, who had staged the work on the company, and in addition, this was going to be the first time SFB would dance the narrative in over thirty years. But the universe had other plans, and COVID shut down everything. SFB did give one performance of the ballet (and a filmed version of <i>Midsummer</i> was included in SFB’s 2021 digital season), as I sat in the audience at Zellerbach Hall in Berkeley. Most of us never did see <i>Midsummer </i>live, that is until this past Tuesday night. What a treat to finally witness George Balanchine’s 1962 sojourn into Shakespeare’s comical story, made all the more dazzling by Christian Lacroix’s updated and rich Scenic and Costume Design. It was fun. It was joyful. And while titled <i>A Midsummer Night’s Dream,</i> there couldn’t be a ballet more suited for spring, with the florals, the forest, the winged beings and all the sparkling colors.</span></p><p><span style="font-family: helvetica;">Those familiar with Shakespeare’s source material know that the play opens with the promise of an ultimate celebration, the soon-to-be wedding between Hippolyta, Queen of the Amazons, and Theseus, Duke of Athens (Nikisha Fogo and Daniel Deivison-Oliveira on opening night). Five acts of hilarious romps and entertaining shenanigans follow. There’s humor, crossed connections, romance, confusion, impatience, mischief and spells. Very <i>Noises Off</i>. Balanchine envisioned a shorter, compressed adaptation for the ballet audience. His <i>Midsummer</i> unfolds over two acts, with an expanded wedding (for three couples) taking place in the final thirty minutes and the bulk of the action playing out in the first seventy-five (truth be told, Act I does come off as a bit lengthy). So, when the viewer is thrust into this mystical fairyland of wonder and amazement, it really feels like one is entering a living storybook, where we encounter all the various characters, see how they relate to each other and learn of their wants and desires. The romantic and lovelorn. The confidently regal. The prankish personalities.</span></p><p><span style="font-family: helvetica;">Speaking of the different characters, there was an abundance, to be sure! <i>Midsummer</i> boasts a huge cast, and it truly is an ensemble ballet if ever there was one. There are the expected principal moments, but so many different roles are featured and highlighted throughout, including over twenty talented and well-rehearsed young students from the San Francisco Ballet School. Sasha De Sola and Esteban Hernández were the picture of royalty and elegance as Titania and Oberon, while Cavan Conley’s Puck orchestrated events like a gleefully wicked child. Hernández was the stand-out performer of the evening, with a flawless batterie variation in the first act. Oberon’s choreography seems impossibly difficult, yet Hernández more than delivers. All of the choreography was really quite magical. Flowy and lilty phrases abounded, as did some of Balanchine’s signature movements. The purposefully bent knee on relevé; the flexed palms. Flingy double attitude jumps; the exploration of demi-pointe in pointe shoes. We had been transported to another land that night, but it was definitely Balanchine’s land.</span></p><p><span style="font-family: helvetica;">Act II’s wedding serves as a longer coda to the ballet, almost like a visual expression of the ‘happily ever after’ line at the end of classic fairytales. The dancing was celebratory and sweet, especially the pas de deux from Frances Chung and Isaac Hernández. But it was a shame that not everyone saw the splendor of the wedding scene. As Act I concluded, there was a full cast series of bows. Empty seats after intermission clearly indicated that some folks assumed that the ballet was over. And it did feel like the end. Did we really need the bows at the midway point?</span></p><p><span style="font-family: helvetica;">A Midsummer Night’s Dream runs until March 23rd.</span></p><p><br /></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-88227567085540557482024-02-12T13:36:00.000-08:002024-02-12T13:36:48.505-08:00<p><span style="font-family: helvetica;">San Francisco Ballet<br />British Icons<br />War Memorial Opera House, San Francisco<br />February 10th, 2024 (matinee)</span></p><p><span style="font-family: helvetica;">If there is one word that can describe San Francisco Ballet’s current British Icons program, it is most definitely ‘cinematic.’ Onstage at the War Memorial Opera House until February 15th, the double bill brings the work of two legendary British choreographers in two SFB premieres, Sir Kenneth MacMillan’s <i>Song of the Earth</i> and Sir Frederick Ashton’s <i>Marguerite and Armand</i>. There was much to take in throughout the afternoon, and based on the reception each ballet received, SFB patrons were delighted with the grandeur transpiring before them. Though if one had to choose a highlight of the afternoon, my choice would be 1963’s <i>Marguerite and Armand</i>. Not only did Ashton provide an epic love saga, but he also showed audiences that you don’t necessarily need three acts and three hours to get a story across. His narrative was more than successful in a tight forty-five minutes.</span></p><p><span style="font-family: helvetica;"><i>Marguerite and Armand </i>is a quintessential soap opera, in a really great way. With a score by Franz Liszt, there was everything that a soap opera coupling might have - love at first sight, love forbidden by outside forces, desperate pleas from an ill woman, jealousy and ultimately, death. It was romantic, tragic, turbulent and sweepingly dramatic. At the same time, there is something quite sophisticated about it. Cecil Beaton’s décor was full of billowy curtains and draped bunting; the gilded statues and chandelier felt inspired by 1920s art deco. Jasmine Jimison and Wei Wang in the title roles were stunning and sublime. Every pas de deux they danced felt like a love letter to each other. And the cleanliness of the technique, particularly Wang in his opening solo variation, was a thing of beauty. </span></p><p><span style="font-family: helvetica;">In contrast, technical cohesiveness was a bit elusive in 1965’s <i>Song of the Earth</i>, at least on Saturday’s matinee. There was certainly refinement over the one-act’s six sections, but the first group sequence had issues with both unison and Ashton’s choreographic phrases. Having said that, the composition itself is quite a tour de force. A conceptual suite that contemplates life and death, togetherness and lone-ness, <i>Song of the Earth </i>blends contemporary ballet with avant garde sensibilities. The movement and shapes were striking yet delicate and subtle. A grand plié in sixth position, fluttery parallel assemblés, flexed feet and hands, upper body contractions and sharp directional changes. Set to a song cycle by Gustav Mahler, with live operatic vocals by Nikola Printz and Thomas Kinch, each chapter had its own unique quality – somber and serious sections were followed by fun and whimsical moments. The third song was almost courtly, with the men of the company supporting Carmela Mayo through a series of split cartwheels. Sweeping arms and complex gestural hand phrases imbued the equally light fourth episode. </span></p><p><span style="font-family: helvetica;"><i>Song of the Earth</i> has decidedly neo-classical moments peppered throughout. The accent of various musical motifs with choreographic steps. The use of demi-pointe in pointe shoes. The super quick footwork. And when it comes to the neo-classical genre, SFB is well-versed. The company’s repertory is full of Balanchine ballets, as well as multiple choreographers who are often considered part of the Balanchine lineage. I’m excited for the artistic staff and the dancers to spend more time with other choreographic voices in this neo-classical realm and experience how they interpret movement and physicality. </span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTn44z1qV0jqf4x3sVgCnIItSaL7NHi70ZI8EKEII6Eo4FxEIcVALNoRoeJl6wfObB64HzJqbyTiW1gcWqb-LzXPgZjimMEnTeJ5BojJCFKshlYGGu1mFZ-oo-P-BNQ0tgR8_MY4HoTFa5okToNGm0Z9sZbdtBGeaSbPT0qUu2UDpQPriIHKfA/s3000/SOE2024DRE_VO0448.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="2000" data-original-width="3000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTn44z1qV0jqf4x3sVgCnIItSaL7NHi70ZI8EKEII6Eo4FxEIcVALNoRoeJl6wfObB64HzJqbyTiW1gcWqb-LzXPgZjimMEnTeJ5BojJCFKshlYGGu1mFZ-oo-P-BNQ0tgR8_MY4HoTFa5okToNGm0Z9sZbdtBGeaSbPT0qUu2UDpQPriIHKfA/s320/SOE2024DRE_VO0448.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">San Francisco Ballet in MacMillan's <i>Song of the Earth </i><br />© Reneff-Olson Productions</span></td></tr></tbody></table></p><p><span style="font-family: helvetica;"><i>Song of the Earth</i> was lengthy, clocking in at one hour. And while I loved the live vocal presence, when the orchestra was at full volume, it was difficult to hear the superb soloists.</span></p><p><span style="font-family: helvetica;">British Icons runs until February 15th in San Francisco.</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><br /></span></div><br /><p></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-73522517842999990682023-12-19T10:00:00.000-08:002023-12-19T10:00:56.590-08:00Holiday Round-up 2023<p><span style="font-family: helvetica;">My SF/Bay Area Round-up is live on CriticalDance - three lovely holiday performances!</span></p><p><a href="https://criticaldance.org/sf-bay-area-round-up-holiday-edition-2023/">https://criticaldance.org/sf-bay-area-round-up-holiday-edition-2023/</a> </p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-17970942485474702112023-09-17T16:12:00.003-07:002023-09-17T16:12:51.724-07:00Smuin Contemporary Ballet - Dance Series 1<p><span style="font-family: helvetica;">Smuin Contemporary Ballet<br />Dance Series 1<br />Lesher Center for the Arts, Walnut Creek<br />September 15, 2023</span></p><p><span style="font-family: helvetica;">A stylistic collage, an arresting drama, a brilliant union of music and dance – what an opening performance for Smuin Contemporary Ballet! For thirty years, this special company has been a force in the Bay Area dance scene and Friday evening’s mixed rep, triple bill tapped into the group’s essence and power. Their commitment to technical excellence and artistic fervor. To simultaneously pushing boundaries and honoring history. To challenging audiences while providing moments of joy and escape. It was a night to remember at the Lesher Center for the Arts!</span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd5wSqtnnMw7DMRaLa_Nvuwv50DyrVczGzf2DgyGepTb_HqWaHRCR489TYAOIumR4J0g8zVovJitppftVUhbcNI-nT88vM5yGwT-ltNKU4Fnshri9P2Lm6hp_ilD038UNeM80lNJ3Mn47MrLFPdymxrLO3-DD6BrW27XFQj15L7P7vIiuY-kTz/s2560/Smuin_Tutto-1_Chris-Hardy-scaled.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1743" data-original-width="2560" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd5wSqtnnMw7DMRaLa_Nvuwv50DyrVczGzf2DgyGepTb_HqWaHRCR489TYAOIumR4J0g8zVovJitppftVUhbcNI-nT88vM5yGwT-ltNKU4Fnshri9P2Lm6hp_ilD038UNeM80lNJ3Mn47MrLFPdymxrLO3-DD6BrW27XFQj15L7P7vIiuY-kTz/w400-h272/Smuin_Tutto-1_Chris-Hardy-scaled.jpeg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Smuin in Caniparoli's <i>Tutto Eccetto Il Lavandino</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;"><br />As the title indicates, Val Caniparoli’s <i>Tutto Eccetto Il Lavandino (everything but the kitchen sink)</i> provides the utmost in choreographic variety from start to finish. The ensemble 2014 suite, set to Vivaldi, really does have a bit of ‘everything’ movement-wise; it’s anyone’s guess as to what’s up next on the menu. There’s Celtic footwork passages and traditional ballet lines. Contemporary partnering and courtly pedestrian sequences. Full throttle running and Pilates-style mountain climbers. The work is quite dazzling. Costumed simply in shades of olive, nothing distracts from Caniparoli’s physical vocabulary or from the dancers’ performances, including a fiercely determined pas de deux from Brennan Wall and Brandon Alexander. It was exciting to see some new faces join the company veterans; and I can only imagine that the artists will continue to gel together over time. <i>Tutto Eccetto Il Lavandino</i> does call for a fair bit of unison, and that occasionally proved challenging.</span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbvydHpgIpIR6R1bS1DMxFsF2PVIVTS28YCHgWAWYpuxhmpnkYiugLd9bz5TQYNx12QarE7r88HE0_TZ0t8-Lk1LQxUsNhGTy8Qjn9W53dp38WMSpW9-44Lz-3btXcFgRi3apV7y4tW8oBk5YxEfij4Bcabsb7CTKepCEEwfLEeBiZhzYKDOd2/s2560/Smuin_The-Man-in-Black-5_Chris-Hardy-scaled.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1707" data-original-width="2560" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbvydHpgIpIR6R1bS1DMxFsF2PVIVTS28YCHgWAWYpuxhmpnkYiugLd9bz5TQYNx12QarE7r88HE0_TZ0t8-Lk1LQxUsNhGTy8Qjn9W53dp38WMSpW9-44Lz-3btXcFgRi3apV7y4tW8oBk5YxEfij4Bcabsb7CTKepCEEwfLEeBiZhzYKDOd2/w400-h266/Smuin_The-Man-in-Black-5_Chris-Hardy-scaled.jpeg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Smuin in Kudelka's <i>The Man In Black</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;"><br />There are several constants in James Kudelka’s 2010 quartet <i>The Man In Black</i>. The two most powerful being the sober atmosphere and Johnny Cash’s haunting voice covering six luscious tunes. Danced on opening night by Alexander, Ian Buchanan, Terez Dean Orr and João Sampaio, another constant was the stage perimeter. Unhurried and unassuming, the dancers pivoted around the space, carving out circuit after circuit. With their gazes often on the horizon, an undeniable sense of purpose and forward motion washed over the space, as did a plethora of Western dance traditions. Percussive step dance. Line dancing. Contra dance. And then the final constant - a strong sense of togetherness, of community, and the palpable pain that emerges when that kinship is fractured. </span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu9pzWUvwQZw6jlBJzQ35MyFCzvj4ZIH_FzFKQGz9yVpgAPptG_3j8sJoypqef0Rrs5dXMIhZ9RDJIJGvDMOTk2xyzS1mjupr2mxi8YIVH5oz6-kqVDsO_RBue-8wIZBlcDp6G5AEzLCpwRbKj9PFXRhRI5_Oh4meB68x-ERZIgMqp_zKAobSE/s3600/Salsa%20Til%20Dawn%201_Chris%20Hardy.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="3600" data-original-width="2717" height="373" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu9pzWUvwQZw6jlBJzQ35MyFCzvj4ZIH_FzFKQGz9yVpgAPptG_3j8sJoypqef0Rrs5dXMIhZ9RDJIJGvDMOTk2xyzS1mjupr2mxi8YIVH5oz6-kqVDsO_RBue-8wIZBlcDp6G5AEzLCpwRbKj9PFXRhRI5_Oh4meB68x-ERZIgMqp_zKAobSE/w303-h373/Salsa%20Til%20Dawn%201_Chris%20Hardy.jpg" width="303" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Sarah Jordan in Moultrie's <i>Salsa 'Til Dawn</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;"><br />Dance Series 1 closed with an epic party. The kind of event that you hope to be invited to, especially knowing that a VIP is on the guest list. A much-anticipated world premiere by Darrell Grand Moultrie, <i>Salsa ‘Til Dawn </i>was wholly exuberant. Fun. Infectious. The stage was awash with grand leaps, huge lifts and staccato accents. Spines, hips and torsos undulated from every corner, new company dancer Sarah Jordan schooling the group as to how things should be done. Such monumental confidence and freedom of movement! Sampaio also had his moment mid-way through the piece; it was impossible to take your eyes off him, his airy suspension and his long, stretchy limbs. Charles Fox’s marvelous, sexy Cuban jazz score perfectly framed every second of <i>Salsa ‘Til Dawn</i>. And it was Fox who was the VIP guest. While most of the composition was recorded, Fox took to the piano bench to provide spectacular live music for the fifth chapter of the dance, <i>City Lights.</i> It was simply magical to hear his genius in person, while Tessa Barbour cycled through Moultrie’s stunning phrase material. Again, unison in this dance was sometimes tricky, but to be honest, I doubt anyone really noticed. <i>Salsa ‘Til Dawn</i> was such a successful bash and I’m sure each viewer was thrilled to have been at the party.</span></p><p><span style="font-family: helvetica;">Dance Series 1 travels to Mountain View and San Francisco over the next two weeks.</span></p><div><br /></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-19685901033312684992023-05-08T14:06:00.000-07:002023-05-08T14:06:48.497-07:00Smuin Contemporary Ballet - Dance Series 2<p><span style="font-family: helvetica;">Smuin Contemporary Ballet<br />Dance Series 2<br />Blue Shield of California Theater at YBCA, San Francisco<br />May 5th, 2023</span></p><p><span style="font-family: helvetica;">Last Friday, Smuin Contemporary Ballet landed at Yerba Buena Center for the Arts for the San Francisco stop on their current regional tour. Led by Artistic Director Celia Fushille, the company brought a sensational quadruple bill for this last program of 2022-2023. Though what transpired on stage was anything but final. Yes, Dance Series 2 closes the company’s 29th season, but if you were in the audience on Friday night, you can attest to the feast of beginnings. A world premiere from the newly named Associate Artistic Director, Amy Seiwert; a roster of dancers who are not only individually impressive, but seamlessly gelling together as a group; and an organization on the cusp of its 30th anniversary. What a night!</span></p><p><span style="font-family: helvetica;">A perfect welcome into the theater space, Dance Series 2 kicked off with a pair of shorter ballets, Katarzyna Skarpetowska’s <i>Sextette</i> (2021) and Founder Michael Smuin’s <i>Dream </i>(1999). Danced by four women and two men and set to a stirring Bach concerto, <i>Sextette </i>is a joyful study in stage patterning and cannoned timing. Movement phrases had staggered starts, like much Baroque music. A delight to watch, the choreography was lush, melty, legato, and incredibly intricate. The Smuin dancers were lovely in this chamber work, with just a few partnering moments proving tricky. </span></p><p><span style="font-family: helvetica;">Moving out of the Baroque era into the Romanticism of Chopin, Smuin’s <i>Dream</i> took the next spot in Dance Series 2. A gorgeous duet framed by a dark starry backdrop and superbly danced at this performance by Brennan Wall and Ricardo Dyer, we could have easily been watching a pas de deux from <i>Romeo & Juliet</i> (with a few costume tweaks). It was that sweet; that tender; that romantic. But unlike many classical ballet duets, <i>Dream</i> was not at all fussy. It was full of giant, overhead lifts, and an undeniable sense of searching – both for something and someone.</span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH_gtZI54ZcjdpL27JU0y4YMA_YtEXU9cy8RGAE3vh3i197LI5Iz_tDXYo4TBdYNiAZENTxFP1ltCKjzhKF9ZaBcRoyqXUB-scLCkkj7Jjy2lB1Hmh5ywqSfutCgr6DWsoptaSXLKMZbB9Aldyfg8PlOS2tAF9um52cqR6IroBcCu7zhSKIA/s2560/Smuin_Swipe-1_Chris-Hardy-scaled.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1707" data-original-width="2560" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH_gtZI54ZcjdpL27JU0y4YMA_YtEXU9cy8RGAE3vh3i197LI5Iz_tDXYo4TBdYNiAZENTxFP1ltCKjzhKF9ZaBcRoyqXUB-scLCkkj7Jjy2lB1Hmh5ywqSfutCgr6DWsoptaSXLKMZbB9Aldyfg8PlOS2tAF9um52cqR6IroBcCu7zhSKIA/s320/Smuin_Swipe-1_Chris-Hardy-scaled.jpeg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Tessa Barbour, Cassidy Isaacson and Terez Dean Orr<br />in Caniparoli's <i>Swipe</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;"><br />With multiple choreographic chapters coming together to create a cohesive whole, contemporary suite structure took center stage in the last two pieces. Deliciously unpredictable from one moment to the next, Val Caniparoli’s full throttle <i>Swipe</i> (2012) had the best technical dancing of the evening. Performed by seven dancers over seven sections, staccato, angular movement gave a decidedly mechanical, robotic feel. Hips jutted out in space, ribs hyperextended and arms flew at spectacular speeds. Movement influences ranged from the catwalk to disco to African dance, all while Gabriel Prokofiev’s score pulsed and drummed through the air. <i>Swipe</i> was a crowd-pleaser, to be sure, though for me, the score stayed more or less in the same dynamic range when compared to the changeable and unexpected choreography. And the work did feel a little on the lengthy side. </span></p><p><span style="font-family: helvetica;">Dance Series 2 closed with Seiwert’s new playful, spirited, colorful suite, <i>French Kiss</i>, set to a beautiful collection of music from Pink Martini. As the lights went up, the large ensemble (fifteen dancers!) cycled through a winning series of mannequin-esque poses and gestures. These initial moments set the tone for the rest of the piece. While there were some purposefully reflective sequences, overall <i>French Kiss</i> was sweet, happy and fun; you couldn’t help but smile when looking at the stage. Actual mannequins made an appearance mid-way through, as did some other theatrical props. But it was never too crowded or too busy. There is much to love about Seiwert’s choreography and for me, her treatment of pointework is most intriguing. She combines full pointe and non-pointework together. She explores demi-pointe in pointe shoes, revealing new choreographic vocabulary and possibilities. <i>French Kiss</i> was a hit. I’m sure it won’t be every long before Smuin’s audiences see it again.</span></p><p><span style="font-family: helvetica;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIaqUOCJ1p9yFX09fDLU7cGRsmrJZh5z7XF1XU4TskItZEG97z4nl0PIlDeGsAXihVApSfO-OxG5qxyjLhiEVykLwo69qwBKnfCiNUiF2TsnPRKjhPkzcZI70uj8diaRneCOKcR_NYwxlwPQwILLG5OQXaiCQMqVga91ZgrAe82EYXmgNQOg/s2560/Smuin_French-Kiss-2_Chris-Hardy-scaled.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1743" data-original-width="2560" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIaqUOCJ1p9yFX09fDLU7cGRsmrJZh5z7XF1XU4TskItZEG97z4nl0PIlDeGsAXihVApSfO-OxG5qxyjLhiEVykLwo69qwBKnfCiNUiF2TsnPRKjhPkzcZI70uj8diaRneCOKcR_NYwxlwPQwILLG5OQXaiCQMqVga91ZgrAe82EYXmgNQOg/w400-h272/Smuin_French-Kiss-2_Chris-Hardy-scaled.jpeg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Smuin Ballet in Seiwert's <i>French Kiss</i><br />Photo Chris Hardy</span></td></tr></tbody></table></p><p><span style="font-family: helvetica;"> </span></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-8012056679469731192023-04-24T11:21:00.002-07:002023-04-24T11:21:37.145-07:00San Francisco Ballet - "Romeo & Juliet"<p><span style="font-family: helvetica;">San Francisco Ballet<br /><i>Romeo & Juliet</i><br />War Memorial Opera House, San Francisco<br />April 21st, 2023</span></p><p><span style="font-family: helvetica;"><br />Whether the ballet, the stage play or the original text, when you spend time in the world of <i>Romeo & Juliet</i>, a complex narrative unfolds. It’s a tragic love story. It’s a cautionary tale about hate. It unpacks how human beings value each other. It shows the consequences of rash actions. It’s about trajectory; about timing. On Friday night, as San Francisco Ballet opened the final program of 2023, all these themes percolated throughout the War Memorial Opera House. This is another ballet that SFB audiences are very familiar with – choreographed by former Artistic Director Helgi Tomasson and premiering almost thirty years ago. As was the case with earlier full-length works this season, fresh interpretations gave the established work new energy. And opening night’s cast went a step further – they turned this known production into something astonishing, something sublime. Together, Jasmine Jimison, debuting as Juliet, and Angelo Greco, returning as Romeo, made this one of the best <i>R&J</i>s I’ve seen. Ever.</span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1OqktoNH8WcS0v9WaCAmM6Widu8aGiz2dN6JOeX-UHzEZhSnlah4k_nSexTSo-HD7sK0bZxBgpAY3JGikOYBkksocHreFi3ArtDo37ohkgrwmrAcMRKQj2tELTLWyCD2UNKRfcJbS0Hh1btU9JUZJqWSN9_Q31JYK0Ae_EgfKm05TrL-CAw/s800/RAJ2023ORE_LT097.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="533" data-original-width="800" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1OqktoNH8WcS0v9WaCAmM6Widu8aGiz2dN6JOeX-UHzEZhSnlah4k_nSexTSo-HD7sK0bZxBgpAY3JGikOYBkksocHreFi3ArtDo37ohkgrwmrAcMRKQj2tELTLWyCD2UNKRfcJbS0Hh1btU9JUZJqWSN9_Q31JYK0Ae_EgfKm05TrL-CAw/w400-h266/RAJ2023ORE_LT097.jpg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Angelo Greco and Jasmine Jimison in<br />Tomasson's <i>Romeo & Juliet</i><br />Photo Lindsay Thomas</span></td></tr></tbody></table></p><p><span style="font-family: helvetica;">Important narrative frames are established early in Act I. First is the hatred between the Capulets and the Montagues. Seething, violent and deep-seated, the charged environment brews in the very first village scene. It’s electric, angry and one wonders how anything beautiful can grow in such a hostile environment. Also, Act I shows a change of romantic trajectory. Originally, Romeo thought Rosaline to be his future and Juliet thought the same of Paris. How things would dramatically shift over the course of a masked ball. Romeo and Juliet meet and each of their paths are altered forever. </span></p><p><span style="font-family: helvetica;">Much exposition happens in Act II – it’s short and full of many compact scenes, but a lot of action brings us to <i>R&J</i>’s final chapter. There’s more village antics, which feel a little superfluous to be honest. Romeo and Juliet are married, privately and secretly by Friar Laurence (Jim Sohm). And then we return to the town square, where two people are slain, including Tybalt (Luke Ingham) at Romeo’s hand. Romeo is banished and the curtain falls. As the ballet reaches its conclusion, Juliet hatches a scheme to fake her own death and sends a message to Romeo revealing that it is all a charade. She will wake and then they can run away together. Missed connections mean that Romeo does not learn of her plan, and in the end, they both perish.</span></p><p><span style="font-family: helvetica;">The above synopsis details the events of the story, but more is needed to communicate the magic that happened onstage. To impart the mood, the atmosphere, the emotion and the triumphs of opening night. Though the production’s visuals and design need some updating, there was much brilliance to behold.</span></p><p><span style="font-family: helvetica;">Greco’s Romeo, Max Cauthorn’s Benvolio and Esteban Hernández’ Mercutio were not only technically impressive but how they related to each other made you believe that they were like brothers. That connection must be there in order to explain the tragic events that happen later. Jimison was superb as Juliet, capturing every aspect of the nuanced character - from joy and innocence to fright and defeat; from youthful excitement to mature determination. </span></p><p><span style="font-family: helvetica;">Timing and trajectory intersect in Act I’s balcony pas de deux, if only for a moment. This sweeping duet of arabesque slides and circular spins was explosively passionate and both Greco and Jimison’s characters seemed overcome with budding love. While the entire cast was one of the best I have seen, this particular balcony scene was indeed the best. Act III opens back at Juliet’s bed chamber, and again, we see the love between the pair, though this time, intense grief is also part of the picture. They desperately want to be together, and yet, circumstance, trajectory and timing are against them. This truth remains constant until the final moments of the ballet, where the War Memorial stage undeniably saw some of its best acting in years. Bravi!</span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicQwmfj1fHvPfmCVVaQ-1DRS2eGk5yfssIPA571JVoPeL_uuDVe5rx0CeMq9voMRwojQwwBtofg0LpbwZJeqQ7k5Pgk_Z7YePMYr3M1G-z5AfCOrF8jhh3wqUvnxUAhFKQMV5GsKDkVuvg9qO1aQLweZcTkAL9aRv_ZVmIQmKk7gHjKKrK2A/s800/RAJ2023ORE_LT215.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="533" data-original-width="800" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicQwmfj1fHvPfmCVVaQ-1DRS2eGk5yfssIPA571JVoPeL_uuDVe5rx0CeMq9voMRwojQwwBtofg0LpbwZJeqQ7k5Pgk_Z7YePMYr3M1G-z5AfCOrF8jhh3wqUvnxUAhFKQMV5GsKDkVuvg9qO1aQLweZcTkAL9aRv_ZVmIQmKk7gHjKKrK2A/w400-h266/RAJ2023ORE_LT215.jpg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Angelo Greco and Jasmine Jimison in<br />Tomasson's <i>Romeo & Juliet</i><br />Photo Lindsay Thomas</span></td></tr></tbody></table></p><p><span style="font-family: helvetica;">Romeo & Juliet runs until Sunday, April 30th, with Greco and Jimison back in the titular roles on Thursday and Saturday evenings. </span></p><div><br /></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-23709844565109095092023-04-16T15:54:00.001-07:002023-04-16T15:54:27.785-07:00Alvin Ailey American Dance Theater<p><span style="font-family: helvetica;">Cal Performances presents<br />Alvin Ailey American Dance Theater<br />Zellerbach Hall, Berkeley<br />April 15th, 2023 (matinee)</span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuHC7SiQsGq8M7yfKG0NTr39P64Y09IjNo3wiy-2GJ7K0mvyWt2wRMfzUYEcoDlQ5qTJKbKodeQWAWzFxCtgeaTtaz8bbICvGO_jrAcE3_1uLAuKMqnGFXEaoYnR6npxBjK0G0v4R1cZLpn5vpVEBiQdhqQpwBz2trfd8tgdTYvonWgVlafw/s2786/Alvin-Ailey-American-Dance-Theaters-Jacquelin-Harris.-Photo-by-Dario-Calmese.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="2090" data-original-width="2786" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuHC7SiQsGq8M7yfKG0NTr39P64Y09IjNo3wiy-2GJ7K0mvyWt2wRMfzUYEcoDlQ5qTJKbKodeQWAWzFxCtgeaTtaz8bbICvGO_jrAcE3_1uLAuKMqnGFXEaoYnR6npxBjK0G0v4R1cZLpn5vpVEBiQdhqQpwBz2trfd8tgdTYvonWgVlafw/w400-h300/Alvin-Ailey-American-Dance-Theaters-Jacquelin-Harris.-Photo-by-Dario-Calmese.jpg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Pictured: Jacquelin Harris<br />Photo Dario Calmese</span></td></tr></tbody></table><span style="font-family: helvetica;">Spring in the Bay Area has much to offer. Generally, the weather is pretty good. Flowers are blooming. The farmer’s markets are flush with new, exciting produce and longer days equal more time outside. It is also one of the best times of the year for the performing arts, especially dance. San Francisco Ballet is usually in the final programs of its season, Smuin Ballet is into its second dance series and there’s a plethora of contemporary work to take in. But by far, my favorite thing about Bay Area spring dance is the annual return of Alvin Ailey American Dance Theater to Cal Performances. Every year, their weeklong residency absolutely wows and delights the UC Berkeley community. And this year was no exception. As has come to be the custom, the company brought three unique programs to the Zellerbach stage. I was lucky enough to catch Program C, an epic, iconic quadruple bill of work by Founder Alvin Ailey and current Artistic Director Robert Battle.</span></p><p><span style="font-family: helvetica;">Program C opened with Ailey’s <i>Night Creature</i>, a 1974 mini-suite set to Duke Ellington selections. The nocturnal atmosphere was undeniable – a constellation lighting effect projected across the back psych framed sparkling costumes of layered purples, greens and blues. The movement followed that same sense of collage with different vocabulary coming together to form a complete whole. Over <i>Night Creature</i>’s continuous three movements, many styles and genres were mined. 70s jazz with its sultry hips, slinky step-ball-changes and layouts; modern contractions, spirals and Horton laterals. Soft shoe influences. Classical ballet petit allegro and pas de chat. And while very different physicality, everything worked together so well. From lights up to the final cluster pose, <i>Night Creature</i> both mesmerized and captivated. And the Ailey dancers more than delivered in this technically challenging work. The music could have been a little quieter at the beginning, but it seemed like the booth adjusted as the piece wore on. </span></p><p><span style="font-family: helvetica;">Battle’s 2021 <i>For Four</i> also had music front and center. A compact, effervescent quartet, danced at this performance by Alisha Rena Peek, Xavier Mack, Deidre Rogan and Hannah Alissa Richardson, <i>For Four</i> celebrates the musical genius of Wynton Marsalis. At first, I wondered if each of the dancers might be following the line of one particular instrument, but as the piece developed, it seemed that their choreography, entrances and exits were more tied to specific musical phrases. Like the score, motifs recurred. Pointed fingers, knee falls, chaîné turns with goalpost arms. And while there were duets and trios throughout, each dancer also had a chance to solo mirroring the keyboards, saxophones and brass sections in Marsalis’ composition.</span></p><p><span style="font-family: helvetica;">The iconic moments continued as Jacquelin Harris performed Ailey’s 1971 <i>Cry</i>, a haunting, potent solo made famous by the incomparable Judith Jamison. The program note for <i>Cry </i>shares this, “For all Black women everywhere-especially our mothers.” And the dance that Ailey crafted with that inspiration is both formidable and layered. Emotional tones varied – despair, hopelessness, realization and suffering met with resiliency, perseverance and at the end of the piece, joy. Harris reached along the diagonal before contracting inward; she strode forward in power before slowly curling down to the floor. Circular movements of the arms and upper torso took the focus towards the heavens. <i>Cry</i> communicates deep spiritual prayer and the brave act of remembering and on Saturday afternoon, you could have heard a pin drop in the theater. </span></p><p><span style="font-family: helvetica;"><i>Revelations</i> (1960) closed the afternoon at Zellerbach Hall and it was no surprise that applause rang out before the curtain even went up. Like many AAADT fans, I’ve seen <i>Revelations</i> many times and have commented on multiple aspects of Ailey’s modern masterwork set to a collection of spirituals. Rather than repeat some of those thoughts, it seems fitting to revisit just a few of <i>Revelations</i>’ extraordinary, iconic moments. The opening wedge formation with its arm and palm choreography is simply thrilling. As are the gravity-defying back hinges that pepper much of <i>Revelations</i>’ first chapter. The écarté promenade and the final partnered pose are just two of the reasons why <i>Fix Me, Jesus</i> is so special. There’s the boat pose progression of <i>I Wanna Be Ready</i>; the double stag leaps of <i>Sinner Man</i>; and the bright yellow sun that ushers in that last scene. And truly, every instant of the finale, <i>Rocka My Soul in the Bosom of Abraham</i> transports the audience to an entirely joyous plane.</span></p><p><span style="font-family: helvetica;"> </span></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-46897433334075334132023-04-03T15:47:00.000-07:002023-04-03T15:47:17.580-07:00San Francisco Ballet - "Cinderella"<p><span style="font-family: helvetica;">San Francisco Ballet<br />Cinderella<br />War Memorial Opera House, San Francisco<br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ3brpUTnziLDvTWpcqkJVYq1zQgQZ-HBleHZv7C05libuzJVXcq_0Nl_T95enF85cs3OiDpns8av1bKr5CNaAVJhgZKDonz5Fu1mTdSW2ZBc2eQFGGXfAaND1CA3WDXW9eYOVfGUPxBqntJ-PhCMMXuF78SRoAHo5iDACR0EDKniYR95vNg/s8070/CIN2023ORE_LT248.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="5383" data-original-width="8070" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ3brpUTnziLDvTWpcqkJVYq1zQgQZ-HBleHZv7C05libuzJVXcq_0Nl_T95enF85cs3OiDpns8av1bKr5CNaAVJhgZKDonz5Fu1mTdSW2ZBc2eQFGGXfAaND1CA3WDXW9eYOVfGUPxBqntJ-PhCMMXuF78SRoAHo5iDACR0EDKniYR95vNg/w400-h266/CIN2023ORE_LT248.jpeg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">San Francisco Ballet in Wheeldon's <i>Cinderella</i><br />Photo Lindsay Thomas<br /></span><br /></td></tr></tbody></table></p><p><span style="font-family: helvetica;">April 1st, 2023 (matinee)</span></p><p><span style="font-family: helvetica;">When a ballet has been part of a company’s repertoire for quite some time, there is an upside of familiarity. Audiences know the story, the visuals, the choreography. The downside is that the work can start to feel stale after a while. But one full-length narrative that will never fall victim to time is Christopher Wheeldon’s <i>Cinderella.</i> A co-production of SFB and Dutch National Ballet, this <i>Cinderella</i> has vibrancy to spare. Stunning landscapes, humor, a wild cast of characters, innovative design and the choreographic backbone that this familiar fairy tale needs. <i>Cinderella</i> saw its US premiere at SFB on May 3, 2013, and even though a decade has passed, the work’s ingenuity has rendered it ageless.</span></p><p><span style="font-family: helvetica;">Like many story ballets, Act I has much narrative exposition. We meet the main characters; come to understand their respective situations and learn what motivates them. In Wheeldon’s version, that begins with a prelude of sorts, where the viewer encounters the leads as children. We see Cinderella lose her mother, and the onset of her protection by the four Fates (the Fairy Godmother character reimagined). We meet her new family and witness how their jealousy dominates and decimates Cinderella’s life. We are transported to the palace where Prince Guillaume and his friend Benjamin are, as children, already battling notions and assumptions of duty and responsibility. And as the Act moves on, and the leads grow up, there’s mistaken identity. Invitations to a ball. A forest bubbling with color, energy and animation. </span></p><p><span style="font-family: helvetica;">There were several special moments throughout this initial Act, especially from SFB soloist Isabella DeVivo, who debuted in the titular role on Saturday afternoon. Cinderella’s first solo at her mother’s grave is one of my favorite dance moments in the ballet, and DeVivo displayed such command and range. It feels like an intimate conversation between Cinderella and her mother – an opportunity to share about her life, her dreams, her fears. As such, the choreography is thematically and tonally nuanced. There’s joy, wistfulness, longing and grief and DeVivo delivered on all fronts. </span></p><p><span style="font-family: helvetica;">Elizabeth Mateer was fantastic as the severe, unforgiving (and in Act II, the drunk) stepmother, perhaps the best portrayal of that character since the ballet’s premiere. And Kamryn Baldwin and Jasmine Jimison were delightfully cringeworthy as Cinderella’s stepsisters. In the forest, before transforming for the ball, Cinderella happens upon a mélange of characters, led by the seasonal variations. Spring sparkles with buoyancy and spirit, while Summer’s circular, swinging choreography floats with vastness. Fiery and dramatic, Autumn’s footwork is all spice, and Winter closes things out with elegant coolness. Cinderella’s transport to the ball is a phenomenal visual effect, concluding an Act where much happens, and maybe a few too many characters appear in the final scene.</span></p><p><span style="font-family: helvetica;">Next, we arrive at the palace’s grand ballroom for more action, fun and romance. The churlish stepsisters desperately try to one up each other to impress the Prince (Joseph Walsh), the stepmother has her gloriously tipsy solo and sparks fly between Jimison’s Clementine and Hansuke Yamamoto’s Benjamin. But what makes Act II special are the duets and solos by DeVivo and Walsh. Innocence, grace and curiosity informed all their partnering. Relevés were confident and secure. Each phrase had an undeniable ‘swept off your feet’ tone – DeVivo skimming the stage with every lift, turn and gentle hop. Act II does drag a bit from time to time and the corps’ segments needed some attention. Their opening waltz sequence is another favorite dance moment of mine in this ballet, but on Saturday afternoon, coordination and timing was a bit elusive for the group. </span></p><p><span style="font-family: helvetica;">The final Act of Wheeldon’s <i>Cinderella </i>is all about finding the foot that fits the golden slipper left behind at the ball. After many humorous attempts, it is discovered that Cinderella is the owner of that shoe, and the love story is fully realized. Cinderella and the Prince’s final pas de deux celebrates that love, certainly. Though it also reveals another layer or level to their journey – freedom and choice. In the end, their triumph is that they have the freedom to choose each other; to live the life they want and to be happy on their own terms. </span></p><div><br /></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-62030736281262099692023-03-20T10:58:00.001-07:002023-03-20T10:58:25.432-07:00San Francisco Ballet - "The Colors of Dance"<p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj29iPRfVl8yMxLcFZ_DDsSxJLKcWLjrMhQ-E3-m3rCqezVoALJWjJ6SklfkYuvDwAGTwIAguCzpEP3LzlL-k68WWF77FGzeuxbbpvWSRnDbOxAZveNgy43fVolqParoAZhykUv1bgl9nriSAWQTCri5XEVbdoh9ISCvZp5hthI0onudskwww/s5998/SFE2023DRE_LT054.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3999" data-original-width="5998" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj29iPRfVl8yMxLcFZ_DDsSxJLKcWLjrMhQ-E3-m3rCqezVoALJWjJ6SklfkYuvDwAGTwIAguCzpEP3LzlL-k68WWF77FGzeuxbbpvWSRnDbOxAZveNgy43fVolqParoAZhykUv1bgl9nriSAWQTCri5XEVbdoh9ISCvZp5hthI0onudskwww/s320/SFE2023DRE_LT054.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">San Francisco Ballet in <br />Tomasson's <i>7 For Eight</i><br />Photo Lindsay Thomas</span></td></tr></tbody></table><span style="font-family: helvetica;">San Francisco Ballet<br /><i>The Colors of Dance</i><br />War Memorial Opera House, San Francisco<br />March 18th, 2023 (matinee)</span></p><p><span style="font-family: helvetica;">San Francisco Ballet’s 90th season has been epic thus far. First, an astonishing festival of new works; next, an injection of fresh energy into <i>Giselle</i>. Later this season, audiences can look forward to two more mammoth full-length classics: <i>Cinderella</i> and <i>Romeo & Juliet</i>. Sandwiched in the middle of all this deliciousness was Program 3, a mixed repertory collection dubbed <i>The Colors of Danc</i>e. </span></p><p><span style="font-family: helvetica;">First up on this charming triple bill was <i>7 For Eight</i>, a 2004 composition by former Artistic Director Helgi Tomasson. <i>7 For Eight</i> is the epitome of a neo-classical suite, very Balanchine-esque in both flavor and look. It emits soothing, pleasant tones, never asking too much of the audience (other than to bear witness to the lovely movement). Neo-classical tenets abound throughout the thirty-minute work. There is no linear story, though the ballet still had emotive tones of drama, playfulness and spirit. The choreography has speed, particularly prominent in the second episode’s pas de deux, danced on Saturday afternoon by Julia Rowe and Mingxuan Wang. Physicality converses deeply with J.S. Bach’s Baroque score, sometimes even matching a strong chord or a staccato accent. Delightful surprises peppered the choreographic language, like double attitude jumps, upper body contractions, partnered slides and sudden, sharp directional shifts.</span></p><p><span style="font-family: helvetica;">Esteban Hernández’ solo variation (the 5th chapter) was by far, the star of the piece. Crisp, clean and resolute, every motion, every step sparkled. Lofty briseés, elastic sissones, textbook batterie and jumping turns that seemed to defy gravity. As expected with a neo-classical work, the design elements were pared down, so as to not distract from the movement. Though at the same time, it was unexpected that this piece was chosen as the opening for <i>The Colors of Dance </i>program. Overall, <i>7 For Eight</i> is missing much visual color, making that choice somewhat curious. </span></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi32BiaMF-4KYkZ_jUCl0R8_-UaDIPJdEpGosqBf-sv1IesnC9h6qSe9gwVsKOamr2kwiUifb01vmSUsAUq6fqxY0IUSmtZi1Lu2VX9UDOiJTTeSxdUxBD-s4Z1Yq6jpZyP8iFnrPpiPUOsfzzQAjUSu8ONwnhkDW-4kuC1BvYERKJ3yKfF2A/s6602/CLF2023DRE_LT049.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="4401" data-original-width="6602" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi32BiaMF-4KYkZ_jUCl0R8_-UaDIPJdEpGosqBf-sv1IesnC9h6qSe9gwVsKOamr2kwiUifb01vmSUsAUq6fqxY0IUSmtZi1Lu2VX9UDOiJTTeSxdUxBD-s4Z1Yq6jpZyP8iFnrPpiPUOsfzzQAjUSu8ONwnhkDW-4kuC1BvYERKJ3yKfF2A/w400-h266/CLF2023DRE_LT049.jpg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">San Francisco Ballet in Thatcher's <i>Colorforms</i><br />Photo Lindsay Thomas</span></td></tr></tbody></table><span style="font-family: helvetica;"><br />In contrast, Myles Thatcher’s <i>Colorforms</i> was an explosion of vibrancy, particularly Jim French’s lighting design and Susan Roemer’s costumes. The film version of <i>Colorforms</i> (filmed in and around the SFMOMA) originally premiered as part of SFB’s 2021 virtual season and was adapted to the War Memorial stage for this program. French’s scenic design was phenomenal and accomplished two important goals. His large frame structures and movable viewing benches not only captured the sense of place (the art gallery), but also helped solidify the layered theme of the viewership lens. We, the audience, certainly had a lens into what was happening onstage, but his set also allowed the dancers to have their own unique experience as both performer and viewer. Like <i>7 For Eight</i>, <i>Colorforms</i> doesn’t appear to be telling a story, though it does have several tonal throughlines that come across in the scenework and choreography. First and foremost was joy. Every moment was so full of delight. And, befitting the art gallery container, there was also a sense of noticing, of curiosity, of exploration. Several choreographic moments shone, like the picturesque vignettes that the cast had to create as a collective, and the stunning unison near the end. </span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvNCF9zyFljL7t7_OCOXwExVkk0YSP4DFTGrtV_5M1vB3QTQuehcTWLEaLFNf3Qv47FWFsVW2-o5PMcD3rZ5Z19XR2ztUml4eOj_cIqltBKOEC6S0uJMtTcAnTzbT-xgyhwP6PupyT0qX2BKzsvVl73NlaCS7RK6Qgp9V9FdwAEEfqK7w9PA/s6105/BLW2023DRE_LT047.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="4070" data-original-width="6105" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvNCF9zyFljL7t7_OCOXwExVkk0YSP4DFTGrtV_5M1vB3QTQuehcTWLEaLFNf3Qv47FWFsVW2-o5PMcD3rZ5Z19XR2ztUml4eOj_cIqltBKOEC6S0uJMtTcAnTzbT-xgyhwP6PupyT0qX2BKzsvVl73NlaCS7RK6Qgp9V9FdwAEEfqK7w9PA/s320/BLW2023DRE_LT047.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Nikisha Fogo and Joseph Walsh in<br />Forsythe's <i>Blake Works I</i><br />Photo Lindsay Thomas<br /></span></td></tr></tbody></table><span style="font-family: helvetica;">William Forsythe’s <i>Blake Works I </i>(2016) held the final place in <i>The Colors of Dance</i>, the largest ensemble piece on the program. The suite of dances is set to a James Blake score, a recorded collection that oscillated between R&B, jazz, hip hop and electronic dance music. Against that changeable frame, Forsythe introduced classroom ballet exercises with a twist. While dancers (clad in beautiful light blue costumes) cycled through the positions of the body, a hip might swivel. The transfer of weight in temps lié investigated both external and internal rotation. Port de bras was embellished; one sequence even had a distinctively macarena feel to it. It was academic phrase material, re-imagined. <i>Blake Works I </i>was fun and dynamic, save for the number of internal stops and starts. And while there were leads and featured sequences, the ballet is definitely an ensemble piece, and so, not surprisingly, it was strongest and most captivating when most of the dancers were onstage.</span></p><p><span style="font-family: helvetica;"> <br /></span></p><div><br /></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-8112447169359973232023-02-26T11:08:00.000-08:002023-02-26T11:08:01.191-08:00San Francisco Ballet - Giselle<p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUMtQCgubF2IlEaMpszyNMtc7YRcjk-F8TvLWNXPbKRS6SHUJqZl2PJPKbl121XgAGcb7M1hdCtiMCvJEJ3miGMXqYXaXUddPJUZVc6A1GkHTckc-jtVnybrmsVVhhhBd_RnGRocqnwtZZxrU_ac8q_sPtGisZoHZv8qnqwi_3OVIJ2qI2qw/s6088/GIS2023DRE_LT194_1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4059" data-original-width="6088" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUMtQCgubF2IlEaMpszyNMtc7YRcjk-F8TvLWNXPbKRS6SHUJqZl2PJPKbl121XgAGcb7M1hdCtiMCvJEJ3miGMXqYXaXUddPJUZVc6A1GkHTckc-jtVnybrmsVVhhhBd_RnGRocqnwtZZxrU_ac8q_sPtGisZoHZv8qnqwi_3OVIJ2qI2qw/w400-h266/GIS2023DRE_LT194_1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sasha De Sola and Aaron Robison in <br />Tomasson's <i>Giselle</i><br />Photo Lindsay Thomas<br /><br /></td></tr></tbody></table>San Francisco Ballet<br /><i>Giselle</i><br />San Francisco, War Memorial Opera House<br />February 24th, 2023</p><p>San Francisco Ballet fans know <i>Giselle.</i> More specifically, they know this particular <i>Giselle</i>. Choreographed by former Artistic Director Helgi Tomasson, the two-act narrative premiered almost twenty-four years ago (April 8th, 1999). Since then, the ballet has frequently been part of the company’s season; so, Bay Area audiences are very familiar with the story, the costumes, the sets and the movement variations. Even the major roles have been similarly cast in recent years. </p><p>Yet, with all those layers of familiarity, if you were present on opening night, you can attest that something special happened on the War Memorial stage. Something unexpected. Perhaps even magical. It was the newness that Sasha De Sola and Aaron Robison brought debuting as Giselle and Count Albrecht. The fresh atmosphere was undeniable – energy, technique, dramatic portrayals – and it brought such life to the knowable choreography. The performances that follow (<i>Giselle</i> is onstage until March 5th) will also feature new Giselles and Albrechts, so it’s good bet that this updated spirit will thrive throughout the ballet’s run.</p><p>At the start of Act I, Robison injected complex notes of curiosity, mischief and defiance into his Albrecht, while De Sola was the embodiment of innocence and joy. Her famous balleté sequence had such levity, and anytime Robison jumped in the air (whether batterie or a full split jump), he defied gravity. All footwork was delicate, precise and so evocative of Romantic ballet.</p><p>As Act I’s village scene continued, the nobility of the land joined the festivities, leading way to the Peasant Pas de Cinq. This collection of enchaînments was truly glorious. Certain. Confident. Especially the solo variations by Max Cauthorn and Hansuke Yamamoto. Then, the mad scene. De Sola’s approach to this difficult moment in the ballet was different, and for me, better and more believable. She had a way of keeping the innocence and naivete of the character, while letting her unravel. Other portrayals tend to morph Giselle into another being entirely. The throughline that De Sola established in that instant was so effective; it was creepier, to be sure, but that part of Act I should be somewhat creepy. </p><p>The first half can feel a bit lengthy, and as a dog enthusiast, I have to say that it seems a good idea to leave the dog out of the picture. The dog looked scared. I realize the pup is there to reinforce the state of the nobility, but I think their costumes and general air make it clear who they are. </p><p>Onto Act II, the forest, the Wilis and their Queen, Myrtha (another SFB debut by the phenomenal Nikisha Fogo). Myrtha’s every arabesque had a decidedly darting quality to it, like her entire being was transformed into an arrow or sword. Fogo wowed as this relentless, almost mechanical character. I’ve seen her primarily dance ‘sunnier’ roles with SFB, but here, her commanding, domineering presence showed viewers she has the range to do it all. De Sola and Robison continued to impress, technically and dramatically, every moment they were on stage. Choreographic extremes abounded. Loftiness and ballon met with an intricate celebration of the lower leg extension. The abundance of assemblé (a step that means ‘to join’) in Giselle and Albrecht’s pas de deux was poetic. And it was fantastic to see how Robison let his movements and phrase material respond to the Wilis' snare.</p><p>The corps was solid and convincing as this ghostly group. Boureés positively floated; poses were appropriately sober, yet dynamic. The famed arabesque crossing was well-done, save for a few extensions that were too high, compared to everyone else. </p><div><br /></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-9207186026526750442022-12-22T14:20:00.001-08:002022-12-22T14:20:35.655-08:00Smuin Contemporary Ballet<p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFzB7-mka-EUkYMSH2fU7ODacWCLgAzJ6gTRxOh746BPSbTgBuX2sTcPqui7FBgS1Dk-ifcj7Awx4iGeYvrRsArmHV6JN8Gv-JzmU7ruyVVDRK4rUVP0Moylbq2tjs78hI9_wdNN6PaogccU4oHQxYxWj45wrUFjGSv-9oowxows9rzyZp_g/s2560/Smuin_The-Christmas-Ballet-2022_The-Twelve-Days-of-Christmas-3_Chris-Hardy-scaled.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1434" data-original-width="2560" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFzB7-mka-EUkYMSH2fU7ODacWCLgAzJ6gTRxOh746BPSbTgBuX2sTcPqui7FBgS1Dk-ifcj7Awx4iGeYvrRsArmHV6JN8Gv-JzmU7ruyVVDRK4rUVP0Moylbq2tjs78hI9_wdNN6PaogccU4oHQxYxWj45wrUFjGSv-9oowxows9rzyZp_g/w400-h224/Smuin_The-Christmas-Ballet-2022_The-Twelve-Days-of-Christmas-3_Chris-Hardy-scaled.jpeg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Smuin Contemporary Ballet in<br />Amy Seiwert's <i>The Twelve Days of Christmas</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;">Smuin Contemporary Ballet<br /><i>The Christmas Ballet</i><br />Blue Shield of California Theater at YBCA, San Francisco<br />December 20, 2022</span></p><p><span style="font-family: helvetica;"><br />Holiday performance in the Bay Area has always been vast and varied. A true myriad of productions, styles, genres and disciplines – something for everyone and for every taste. While the last couple of years have certainly been tough for the theater, as we close 2022, most of those holiday performance traditions are back in full force, and many are stronger than ever.</span></p><p><span style="font-family: helvetica;">One that is experiencing a renewed energy and vigor is Smuin’s <i>The Christmas Ballet</i>, currently finishing out its December engagement at YBCA. The company looks very strong. The variations that Artistic Director Celia Fushille and her artistic team selected for the two halves – The Classical Christmas and The Cool Christmas - are fun, vibrant and very fresh, be they a new premiere or a longtime favorite choreographed by the company’s founder Michael Smuin. I’ve seen <i>The Christmas Ballet</i> on many occasions, but this was my first time at the LGBTQ+ celebratory night (the third one Smuin has hosted). A fabulous emcee guided us through the evening, which benefitted several local LGBTQ+ organizations. The runner-up for season 14 of RuPaul’s Drag Race, Lady Camden, aka former Smuin company artist Rex Wheeler, not only welcomed us into the space, but also made a couple of amazing appearances later in the show.</span></p><p><span style="font-family: helvetica;">In honor of the LGBTQ+ community, the rainbow flag, or pride flag was heartily saluted throughout. Dancers in Smuin’s <i>Veni, Veni, Emmanuel</i>, a choreographic statement of gorgeous simplicity, donned colorful sashes offsetting their stark white costuming. <i>Pretty Paper</i> replaced the traditional one-hued ribbon with a popping rainbow one, and in the hilarious <i>Santa Baby</i>, led by Lady Camden at this performance, the famous boa boasted every color one could imagine. But costuming and design weren’t the only ways the Smuin team thought about this particular program. There were also notable changes in assigned casting. Instead of adhering to traditional ballet gender norms, Smuin changed up roles and pairings in several chapters. The result was just beautiful.</span></p><p><span style="font-family: helvetica;">Many of my favorite excerpts in year’s past were back for 2022’s bill, including Act I’s <i>Zither Carol</i> (Smuin). There is much to love in this delicate, ethereal solo, danced at this performance by Claire Buehler. It has everything wonderful that is classical ballet – superb balance, luscious turns and juicy extensions. Choreographer and former Smuin dancer Nicole Haskins had several pieces on the program, including <i>Fantasia </i>and the world premiere of <i>Peaceful Prayer</i>. Like its musical counterpart, the former deliciously lived outside the rules, moving from light, delicate motions to sprightly, upbeat petit allegro. The latter was an emotive, swirling duet by Terez Dean Orr and Anthony Cannarella. Passionate and elastic, it felt like Orr rarely touched the ground. The other world premiere for 2022 was created by Smuin alum Amy Seiwert, <i>The Twelve Days of Christmas </i>- a genius mash-up of the titular song, Rudolph the Red-Nosed Reindeer, Deck the Halls, and surprisingly, even Toto’s 1982 hit, Africa. The visual landscape provided a perfect mix of dance and gesture, humor and nostalgia.</span></p><p><span style="font-family: helvetica;">One thing I look forward to in <i>The Christmas Ballet</i> is the joyous presence of percussive dance, a form that doesn’t get its due on the concert stage in my opinion. Peppy Celtic footwork offset a calm upper body in <i>The Gloucestershire Wassail </i>and Act II’s <i>Bells of Dublin</i>. Waltz clog pulled up to the table in <i>Droopy Little Christmas Tree </i>(all three by Smuin). And Tessa Barbour’s duet <i>It’s Beginning to Look a Lot Like Christmas</i> was so much fun. The tap prowess of Cannarella and Ricardo Dyer was undeniable and impeccable – from beginning to end, every beat, so precise and crisp. </span></p><p><span style="font-family: helvetica;"> </span></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-72167489852662125672022-12-19T15:04:00.001-08:002022-12-19T15:04:36.007-08:00San Francisco Ballet<p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPqdeIWariV5mAqT5RZJXVSvAmv7yBfxiuBKj1nSJL1_m9NQOnijEuTILQzr7h1SUcsscyhDx53FU_rqiUUonL--ey4byA1qo3V6Bp-TdqrcImJkr7blnnS7rOlJTsMMWbH6rn0Rswalnv8mvQS6sNOm1goFfqjCVmlaMNS9qV9kt5BGi14Q/s3000/NUT2022REP_QWDSC05941_CE.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1955" data-original-width="3000" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPqdeIWariV5mAqT5RZJXVSvAmv7yBfxiuBKj1nSJL1_m9NQOnijEuTILQzr7h1SUcsscyhDx53FU_rqiUUonL--ey4byA1qo3V6Bp-TdqrcImJkr7blnnS7rOlJTsMMWbH6rn0Rswalnv8mvQS6sNOm1goFfqjCVmlaMNS9qV9kt5BGi14Q/w400-h261/NUT2022REP_QWDSC05941_CE.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">San Francisco Ballet in <i>Nutcracker</i><br />Photo Quinn Wharton</td></tr></tbody></table><span style="font-family: helvetica;">San Francisco Ballet<br /><i>Nutcracker</i><br />War Memorial Opera House, San Francisco<br />December 17th, 2022</span></p><p><span style="font-family: helvetica;">Opening night of last year’s <i>Nutcracker</i> at San Francisco Ballet was special. The company was returning to their home theater, and I would bet that for many patrons, it was their first trip to a live performance in quite some time. Excitement and buzz seemed to levitate the room. A standing ovation closed the evening. As folks filed out of the opera house, one could sense the smiles beneath their masks. Former Artistic Director Helgi Tomasson’s two-act ballet wasn’t just a holiday tradition that night, it was a community celebration. </span></p><p><span style="font-family: helvetica;">2022’s <i>Nutcracker </i>was equally special, but in a very different way. Still festive, to be sure, but there was something else in the air. Normalcy. All the kids from the school were back onstage, in the party scene and as the tiny, little ladybugs at the opening of Act II. Many of the audience still opted for masks, but the mood in the seats was certainly less charged and more relaxed. Like the collective was recognizing a much-needed moment of repose, relief and joy.</span></p><p><span style="font-family: helvetica;">Tomasson’s <i>Nutcracker</i> (2004) has a terrific sense of forward motion, which is especially appreciated in the parts of Act I that can tend to drag. Charm and revelry reign at the Stahlbaum Christmas Eve party, magic pervading the landscape. Clara (Piper O’Leary Herreras at this performance) receives an unforgettable present, a Nutcracker, and as midnight strikes, the figure comes to life. A battle ensues between mice, soldiers and the Nutcracker, and after declaring victory, the pair journey through a frozen forest to a palace of dance. When you’ve seen the same <i>Nutcracker</i> for many years, you forget how impressive the tricks, illusions and scenes truly are – the seven-year-old sitting next to me exclaimed several times, “how did they do that?” An excellent reminder of the level of production we were witnessing.</span></p><p><span style="font-family: helvetica;">Instead of going on opening night, this year, I opted to take in one of the weekend matinees. In addition to the infectious kid energy at any afternoon performance, the other benefit is that the cast is more varied. In past years, opening night has tended to feature the same dancers, so it’s nice to see other interpretations of <i>Nutcracker</i>’s many roles. Standouts included Elizabeth Powell and Lonnie Weeks as Queen and King of the Snow as well as Jennifer Stahl as the Sugar Plum Fairy. Tomasson’s choreography for the snow scene embodies winter weather in all its forms. Delicate and ethereal flurries expressed through lithe pas de chat; sharp and fierce blizzards through darting posé arabesque. Powell, Weeks and the snowflake corps captured every nuance. Stahl was the epitome of elegance, leading the flowers (whose costumes are getting a bit dated) through their famous waltz.</span></p><p><span style="font-family: helvetica;">But by far, the standout couple was Esteban Hernández as the Nutcracker and Katherine Barkman as grown-up Clara. Hernández’s dancing is the ultimate combination of smooth, lofty and technically superb, while Barkman’s grace and delicacy injected the grand pas de deux with a unique lightness. Act II’s variations were all quite good, particularly the Spanish, which is short but deceptively tricky, and the Russian. And there was an unsung hero who must be acknowledged. As the battle sequence was beginning, a piece of costuming inadvertently dropped center stage. That kind of thing happens all the time, but the surprising thing was that dancer after dancer moved by it and just left it there in the middle of the action. Finally, one of the mice dropped to the ground in a roll and unobtrusively scooped it up. Bravo!</span></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-52792750229924730602022-10-31T14:41:00.001-07:002022-10-31T14:41:25.151-07:00Nancy Karp + Dancers<span style="font-family: helvetica;">Nancy Karp + Dancers </span><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrf97byLUew200_OR_3DRTg57jMxi9sYfzzaYIApKykPjyvNs31qN_lr6PmkjYQE1UtKgHNhPx6NQc4prpoqoKluO8lt8Ie-0lLW6VVua-NoETitLpGVSmT4_jK3U1LjyWozwgf4gX0XSuEfeD0YzImyJPkDNWbsYbn5SNUr0t7l25C13LgQ/s1280/NK+%20Dancers%20-%20full%20group.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrf97byLUew200_OR_3DRTg57jMxi9sYfzzaYIApKykPjyvNs31qN_lr6PmkjYQE1UtKgHNhPx6NQc4prpoqoKluO8lt8Ie-0lLW6VVua-NoETitLpGVSmT4_jK3U1LjyWozwgf4gX0XSuEfeD0YzImyJPkDNWbsYbn5SNUr0t7l25C13LgQ/w400-h266/NK+%20Dancers%20-%20full%20group.jpeg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Nancy Karp + Dancers<br />Photo John Hefti</span></td></tr></tbody></table><i><span style="font-family: helvetica;">fly through the night, and land near dawn </span></i></div><div><span style="font-family: helvetica;">Dresher Ensemble Studio, Oakland </span></div><div><span style="font-family: helvetica;">October 28th, 2022 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><br />If you want to revel in the Bay Area contemporary dance scene’s incredible talent and artistry, go and see Nancy Karp + Dancers. Any chance you get. For each new project, Artistic Director and Choreographer Nancy Karp assembles a powerhouse ensemble, and for <i>fly through the night, and land near dawn</i>, which premiered Friday evening at the Dresher Ensemble Studio, she has done it again. The cast of seven demonstrated aplomb, grace and ferocity in the three-part work – a work that looked to the skies and ornithology for inspiration. It was action packed. It kept your eyes glued to the stage. And it was relatable. The dancers were not trying to ‘become’ or ‘transform’ into birds à la <i>Swan Lake</i>. Rather, they showed, through Karp’s imaginative movement, how one might respond to and internalize the majesty of such creatures. <i>fly</i> was a great piece and a lovely way to mark the company’s 40th anniversary. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">While the choreographic vibe and dynamic remained solid, albeit very similar, throughout, each section of <i>fly </i>highlighted a uniquely avian quality and tone. Part 1 - expanse. Bodies soared, floated and carved out space with every arm and leg motion. One could see elegant wingspans and buoyant, lofty footwork, particularly in the parallel sissones and soubresauts. Each chapter was framed by a different, original musical composition by David A. Jaffe, and this one was titled <i>Fox Hollow</i>. It was such an amazing treat to have the music performed live by the Friction Quartet, with Jaffe joining on the mandolin and mandocello. Having said that, part 1’s choreography and music felt a bit mismatched. In the movement phrases, we saw sweeping breadth and volume and, in the score, plucky, atonal dissonance. Of course, there is no rule that the music and the movement need to match, but here, the dissimilar qualities took focus from one another. Each on their own was quite dazzling, just the pairing wasn’t my cup of tea. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">As the evening continued and <i>fly </i>glided into parts 2 and 3, the music and the choreography found and established a beautiful marriage. And if the opening chapter was all about open vastness, part 2 (set to <i>String Quartet for 2 Instruments</i>) was all about suspension and release. Long arabesques stretched to the extreme, until they sprung back, coiling into passé turns. Attitude postures, with their intense internal spiral, wound and twisted and finally, collapsed into the ground. </span></div><div><span style="font-family: helvetica;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7WcAfvynahblYpCyOMa5_xQI8u8SamA5r_qK_KbSg-eUqWqjUx-cYZhYk5EmdKyfBtidYnqocI6S250OmbBrD46KS2NAghpt3ld4a6-sqmY5UiZ_RFDwDQpRzMzJVr9YwIzp0BAnjKaOQ3Vfk-DoM1Xax28Xtc43QL2jhnQStXg7-FCpGfg/s1280/Calvin%20and%20Anna.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7WcAfvynahblYpCyOMa5_xQI8u8SamA5r_qK_KbSg-eUqWqjUx-cYZhYk5EmdKyfBtidYnqocI6S250OmbBrD46KS2NAghpt3ld4a6-sqmY5UiZ_RFDwDQpRzMzJVr9YwIzp0BAnjKaOQ3Vfk-DoM1Xax28Xtc43QL2jhnQStXg7-FCpGfg/w400-h266/Calvin%20and%20Anna.jpeg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Pictured: Calvin Thomas and Anna Greenberg<br />Photo John Hefti</span></td></tr></tbody></table><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Part 3 brought the viewer into the land of sprightly jumps and springy steps - more parallel soubresauts, quick chaîné turns, assembling of the legs in the air and bouncy chaissés. And the score for this final segment, also titled <i>fly through the night, and land near dawn</i>, returned to a more staccato dissonant space. But because the dance for this section was sparkling and sharper, it fit masterfully this time. In fact, I would characterize the whole scene of this closing chapter as almost cinematic in quality. Every moment, every step was so vital, so full of life, so otherworldly. I only wished the dancers hadn’t looked so serious and somber for much of the work. There was a tiny bit of levity here and there and the mood was so joyful when that happened. I think more joy and less angst is what this viewer is craving these days, and I’m sure I’m not the only one.</span></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-63608354922641648562022-09-27T16:36:00.000-07:002022-09-27T16:36:35.551-07:00Smuin Contemporary Ballet<p><span style="font-family: helvetica;">Smuin Contemporary Ballet<br />Dance Series 1<br />Cowell Theater, San Francisco<br />September 25, 2022</span></p><p><span style="font-family: helvetica;">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.</span></p><p><span style="font-family: helvetica;">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.</span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpE1V6yEY5oCX1WWA9EMT-DSdKrA6goCyfGwELfvju0k1HzYCuDrjeokErG0zwyBgFNTe-vFXVgJKrB7_qLzca10sjXE_cFE_9dID5ucPimenbcDS1UQjdxuQna4uzwJ0HxwNsqVHWPZ8cECUNvDEP73KUQciW9rybkcFeVwR_3p-lPBO3Dw/s2560/Smuin_Dance-Series-1-2022_Take-Five-11_Chris-Hardy-scaled.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1536" data-original-width="2560" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpE1V6yEY5oCX1WWA9EMT-DSdKrA6goCyfGwELfvju0k1HzYCuDrjeokErG0zwyBgFNTe-vFXVgJKrB7_qLzca10sjXE_cFE_9dID5ucPimenbcDS1UQjdxuQna4uzwJ0HxwNsqVHWPZ8cECUNvDEP73KUQciW9rybkcFeVwR_3p-lPBO3Dw/s320/Smuin_Dance-Series-1-2022_Take-Five-11_Chris-Hardy-scaled.jpeg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Smuin Contemporary Ballet in <i>Take Five</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;">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. </span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqsBWcYCBXS7FcIqlvs0s7t6grLKgkYSfsTQ9yLGc7cdsQ_XiPnwXnFvArFg1HAh9gyBBJaSMXVJUP-_nz2U-b_-IalXSy4UA5F0SbHYqsQOA3dOEbwlc061hTssjLv8pKOk5FmcU_QgKcYQPymGFCtgj2plbYde8eSBtEvJWRpWJX6DHl9g/s2560/Smuin_Dance-Series-1-2022_Requiem-for-a-Rose-6_Chris-Hardy-scaled.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1737" data-original-width="2560" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqsBWcYCBXS7FcIqlvs0s7t6grLKgkYSfsTQ9yLGc7cdsQ_XiPnwXnFvArFg1HAh9gyBBJaSMXVJUP-_nz2U-b_-IalXSy4UA5F0SbHYqsQOA3dOEbwlc061hTssjLv8pKOk5FmcU_QgKcYQPymGFCtgj2plbYde8eSBtEvJWRpWJX6DHl9g/s320/Smuin_Dance-Series-1-2022_Requiem-for-a-Rose-6_Chris-Hardy-scaled.jpeg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Smuin Contemporary Ballet in <br /><i>Requiem for a Rose</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;"><br />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. </span></p><p><span style="font-family: helvetica;">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. </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg50LMLkEfdqShYX70CLS5z0uadIBU0LQjsdKv7TVBxMEBr-FFNeYoRWTGYtJdYCWNK4f5rdFYz252VeFqWZTNdUDTRU3OuvPxdDsfZOxs8jfObnvem7VdhpGwmBNEqQsMw8Kd1V46zSce1-C0jEEzYoVNVgXsA8s13-7V6vJpMKyYCQm8jeQ/s2560/Smuin_Dance-Series-1-2022_The-Turntable-2_Chris-Hardy-scaled.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1653" data-original-width="2560" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg50LMLkEfdqShYX70CLS5z0uadIBU0LQjsdKv7TVBxMEBr-FFNeYoRWTGYtJdYCWNK4f5rdFYz252VeFqWZTNdUDTRU3OuvPxdDsfZOxs8jfObnvem7VdhpGwmBNEqQsMw8Kd1V46zSce1-C0jEEzYoVNVgXsA8s13-7V6vJpMKyYCQm8jeQ/w400-h259/Smuin_Dance-Series-1-2022_The-Turntable-2_Chris-Hardy-scaled.jpeg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Smuin Contemporary Ballet in <i>The Turntable</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;"><br /></span><div><span style="font-family: helvetica;"><br /></span></div><p><br /></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-89655617393238800752022-09-24T16:16:00.004-07:002022-11-02T15:33:55.810-07:00Miami City Ballet<span style="font-family: helvetica;">Cal Performances presents </span><div><span style="font-family: helvetica;">Miami City Ballet in <i>Jewels </i></span></div><div><span style="font-family: helvetica;">Zellerbach Hall, Berkeley </span></div><div><span style="font-family: helvetica;">September 23, 2022 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWSTos61tnkwRmaBCWAmFcHDDkSVwP_36YUnj720jWXrDr_GskAnICJZWOYa4OOKwo9dr0bBNbPoF-DN5Btz-9n2_byEBOrnSfxwcIY1UA8RyqG8swrzBb4ctZIYlhpNRXgg3VsaGRFzSoYW73QZT_URCh2LrYOU0R0yegofjYfcLFMvDFw/s5352/cal-performances-miami-city-ballet-photo-by-Alexander-Iziliaev.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="2888" data-original-width="5352" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWSTos61tnkwRmaBCWAmFcHDDkSVwP_36YUnj720jWXrDr_GskAnICJZWOYa4OOKwo9dr0bBNbPoF-DN5Btz-9n2_byEBOrnSfxwcIY1UA8RyqG8swrzBb4ctZIYlhpNRXgg3VsaGRFzSoYW73QZT_URCh2LrYOU0R0yegofjYfcLFMvDFw/s320/cal-performances-miami-city-ballet-photo-by-Alexander-Iziliaev.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div class="pictured" style="background-color: white; box-sizing: border-box; text-align: start;"><span style="font-family: helvetica; font-size: x-small;">The Miami City Ballet in <i>Emeral</i><i style="box-sizing: border-box;">ds</i></span></div><div class="credit" style="background-color: white; box-sizing: border-box; text-align: start;"><span style="font-family: helvetica; font-size: x-small;">Photo courtesy of Iziliaev</span></div></td></tr></tbody></table>It’s been a minute since I’ve had the chance to see the entire <i>Jewels </i>(1967) program, as opposed to one of its three sections alone. And I’ve never seen Miami City Ballet dance the piece. So, it was quite a treat to experience both – the complete George Balanchine masterwork performed by the sensational Florida-based company, under the Artistic Direction of Lourdes Lopez. Cal Performances made such a smart choice opening their 2022-2023 season with <i>Jewels</i>. Simply said, it speaks broadly. While each of the three chapters does work in isolation, the full triptych demonstrates the range and possibility within the neo-classical ballet genre. There’s something for everyone: delicate sylph-like variations, plucky sass, bold regality. Miami City Ballet brought their A-game to the iconic composition’s unmistakable tones and layered moods, accompanied handily by the popular Berkeley Symphony. For some, <i>Jewels</i> may have evoked an elegant display case in a deluxe boutique. For others, different ballet traditions expressed through neo-classical choreography. In any event, <i>Jewels </i>captivating essence cannot be denied. And that essence absolutely percolated from the Zellerbach stage on Friday night. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><br />Lilty, yet complex, chords from the orchestra pit set a perfect scene for the delicacy and loftiness of <i>Emeralds</i>, <i>Jewels</i>’ first episode. <i>Emeralds </i>did not disappoint. A gemstone known for its calming and clarifying properties, nothing onstage was ostentatious, flashy or overdone. Every extension, every step, every arm had such intention and joyful subtlety. Bodies (seventeen of them!) glided across the stage like ethereal begins, clad in viridescent hues against a mystical, glimmery green scrim. It was mature. It was sophisticated. And the musicality of the various movement phrases was phenomenal. Wispy port de bras met fluttering bourées. Footwork was crisp for the most part, except during some single-leg jumps, of which there were many. Dancers would leave the floor with a lovely ballon, but the pointed underneath foot seemed elusive for many on Friday. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRRnYS-ZDESQ1CnctJ0SJvnG1vEt2m2_NqJ2mVU5CaADvIq8Fs24ErRscgxBJamGVZfHG_3-MElLRwVrBEaYkRB9z8RkbbUCRLH7rBAAvc70fN-gWGhebt02ajuXAAd7f2-nD7xbgjd-mhkDYEbMEjOhoBPbbnyi3DnZfhcwflD450O6KNQA/s4987/cal-performances-miami-city-ballet-Jennifer-Lauren-and-Alexander-Peters-photo-by-Alexander-Iziliaev.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="3168" data-original-width="4987" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRRnYS-ZDESQ1CnctJ0SJvnG1vEt2m2_NqJ2mVU5CaADvIq8Fs24ErRscgxBJamGVZfHG_3-MElLRwVrBEaYkRB9z8RkbbUCRLH7rBAAvc70fN-gWGhebt02ajuXAAd7f2-nD7xbgjd-mhkDYEbMEjOhoBPbbnyi3DnZfhcwflD450O6KNQA/s320/cal-performances-miami-city-ballet-Jennifer-Lauren-and-Alexander-Peters-photo-by-Alexander-Iziliaev.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div class="pictured" style="background-color: white; box-sizing: border-box; text-align: start;"><span style="font-family: helvetica; font-size: x-small;">The Miami City Ballet in <i>Rubie<span style="box-sizing: border-box;">s</span></i></span></div><div class="credit" style="background-color: white; box-sizing: border-box; text-align: start;"><span style="font-family: helvetica; font-size: x-small;">Photo courtesy of Iziliaev</span></div></td></tr></tbody></table><span style="font-family: helvetica;"><br />After spending a moment in green’s calm and clarity, <i>Jewels</i> pivots drastically to red’s power and passion with <i>Rubies</i>. This middle portion has an extreme cinematic quality, like it could have been included in an old Hollywood movie or transported to the Broadway stage. Stravinsky’s surprising, unpredictable score frames an equally sly and mysterious atmosphere, Balanchine’s choreography similarly unexpected and beguiling. Direction changes slice through space like a knife. Flexed hands and feet suggest command and intensity. Cannoned timing questions how a movement phrase “should” unfold. Dancers froze in 2nd position plié. Extreme arabesques came out of nowhere. And parallel passés stood their ground, refusing to venture into the land of external rotation. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><i>Jewels </i>concluded with the sweeping, grand, waltzy bliss that is <i>Diamonds</i>, a stone representing both strength and love. An immense cast of thirty-four dances this final section, a truly impressive feat. From the precise unison to the neo-classical musicality; from the courtly motions to the regal grand pas de deux, <i>Diamonds</i> was quite dazzling. Once again bourées glistened and arabesques expanded; lifts swirled and skimmed in the same instant. <i>Diamonds </i>is fantastical indeed, with many ta-da moments, and a charming use of demi-pointe in pointe shoes. If you love the Act III ballroom scenes from many of the largescale narrative ballets, you will love <i>Diamonds.</i> Even if it is a bit lengthy.<br /></span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDm6AONjMwAL4135JMXBTF4lPEBBY8xlMyO84L7CLQdYq9vXK239L3RNKsjys2SBziGdYGLpaNh74gHatEmPkt_GXMUOvCBeFhZPhIkeTX8aFJFusrSglRALUbmZUXyjzNozW5by0mUbBwMyXuAsvFgAHa45yUEKyBnbnByz5CT2egdMX33w/s5335/cal-performances-miami-city-ballet-Renan-Cerdeiro-and-Ashley-Knox-photo-by-Alexander-Iziliaev.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="3380" data-original-width="5335" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDm6AONjMwAL4135JMXBTF4lPEBBY8xlMyO84L7CLQdYq9vXK239L3RNKsjys2SBziGdYGLpaNh74gHatEmPkt_GXMUOvCBeFhZPhIkeTX8aFJFusrSglRALUbmZUXyjzNozW5by0mUbBwMyXuAsvFgAHa45yUEKyBnbnByz5CT2egdMX33w/s320/cal-performances-miami-city-ballet-Renan-Cerdeiro-and-Ashley-Knox-photo-by-Alexander-Iziliaev.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div class="pictured" style="background-color: white; box-sizing: border-box; text-align: start;"><span style="font-family: helvetica; font-size: x-small;">The Miami City Ballet in <i style="box-sizing: border-box;">Diamonds</i></span></div><div class="credit" style="background-color: white; box-sizing: border-box; text-align: start;"><span style="font-family: helvetica; font-size: x-small;">Photo courtesy of Iziliaev)</span></div></td></tr></tbody></table><span style="font-family: helvetica;"><br /></span><div><br /></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-89128486361728425412022-07-18T14:34:00.000-07:002022-07-18T14:34:05.265-07:00SKETCH 12: Dear Diary<p><span style="font-family: helvetica;">Amy Seiwert’s Imagery</span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxa5zn36rYm_AhjSB6MTnMwDUMyaTIMkwX6hY3hZMCxNj2FYXP-SjlPuQ8U2Z6otJcNSAz0KXUwJ0hywDH3mVyQ8cQJF5Z7ZZqAZ-na0pZyPnsrPceJ8v-xeUw527ZDSl-4F6QIdoGJkb3r0PYO6M19DrW2syhnOtJKtztmsKcilbm_TVtOg/s5568/AD%20FAV%20Imagery%20in%20Seiwert's%20Tides%20photo%20by%20David%20DeSilva%20DSC_1269%201.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="3281" data-original-width="5568" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxa5zn36rYm_AhjSB6MTnMwDUMyaTIMkwX6hY3hZMCxNj2FYXP-SjlPuQ8U2Z6otJcNSAz0KXUwJ0hywDH3mVyQ8cQJF5Z7ZZqAZ-na0pZyPnsrPceJ8v-xeUw527ZDSl-4F6QIdoGJkb3r0PYO6M19DrW2syhnOtJKtztmsKcilbm_TVtOg/w320-h189/AD%20FAV%20Imagery%20in%20Seiwert's%20Tides%20photo%20by%20David%20DeSilva%20DSC_1269%201.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Amy Seiwert's Imagery in <br />Seiwert's <i>Tides</i><br />Photo David DeSilva</span></td></tr></tbody></table><span style="font-family: helvetica;"><br /><i>SKETCH 12: Dear Diary</i><br />The Cowell Theater, San Francisco</span></p><p><span style="font-family: helvetica;">July 15th, 2022 – San Francisco ushered in a recent July weekend with true summer Friday vibes at Fort Mason Center for Arts & Culture. It was sunny and (somewhat) warm, food trucks graced the ample parking lot, the community was in full celebration mode, there was even a pup pageant underway. And just a short walk down the pier, an evening of eloquent dance was about to unfold on The Cowell Theater stage. Amy Seiwert’s Imagery opened the 12th edition of their <i>SKETCH </i>program, a choreographic incubator designed to push dancemakers and artists out of their comfort zone – encouraging them to experiment and work in new ways. Each <i>SKETCH</i> is thematically driven and derived, and as Artistic Director Amy Seiwert shared with the audience, this year’s theme was nostalgia. The program boasted three innovative premieres, each by a different choreographer and each danced by the eight Imagery company artists. Ahead of each piece, the choreographers provided a video introduction, both framing their work and inviting the viewer to learn a bit about their process.</span></p><p><span style="font-family: helvetica;">First up was Seiwert’s <i>Tides</i>, a contemporary ballet which Seiwert noted, looked back at her choreographic career. From the instant the lights went up, an inextricable link to water was clear, as the title suggests. The opening moments found six dancers, clad in balayage sea-blue singlets (costumes by Susan Roemer), forming and re-forming various sculptural pictures and shapes. Ebbing and flowing as a tide or wave hitting sand. As the remaining two dancers joined the scene and the piece continued, movements became even more aquatic. Hands rippled through space; arms swam. Spins swirled like water being evacuated; traditional ballet fish dives took on new meaning. And just like the ocean, the movement never stopped, entrances and exits happened with such purpose, mirroring the urgency of the musical score. </span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaB8VQMnLoezBLGdR2SZExY0t4Fx9JZKXzJUF8g_TlPRlkv2spzUZEZq5ynRR8cFHSvzxd7vpIG2DYkiWckPmY6PpzwnVV9VS05qs_WqV68-mRwvcOyKPiYyTso9cnjKaHSYTy62qR0qxorFc37uHeMfEWDaMG5DWRua2a1ynZpVzpzooksQ/s4946/AD%20FAV%20Imagery%20is%20Adorlee's%20Liminal%20Space,%20photo%20by%20David%20DeSilva%20DSC_2201%20copy.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="3297" data-original-width="4946" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaB8VQMnLoezBLGdR2SZExY0t4Fx9JZKXzJUF8g_TlPRlkv2spzUZEZq5ynRR8cFHSvzxd7vpIG2DYkiWckPmY6PpzwnVV9VS05qs_WqV68-mRwvcOyKPiYyTso9cnjKaHSYTy62qR0qxorFc37uHeMfEWDaMG5DWRua2a1ynZpVzpzooksQ/s320/AD%20FAV%20Imagery%20is%20Adorlee's%20Liminal%20Space,%20photo%20by%20David%20DeSilva%20DSC_2201%20copy.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Amy Seiwert's Imagery in<br />Adorlee's <i>Liminal Space</i><br />Photo David DeSilva</span></td></tr></tbody></table><span style="font-family: helvetica;">In her video prelude, choreographer Natasha Adorlee explained the deeply personal remembrance at the heart of <i>Liminal Space</i> – the loss of her father when she was a child. Tones, atmosphere and mood purposely varied throughout, as Adorlee illustrated the journey of grief as well as looking at how the passage of time affects loss. The contemporary ensemble work unfolded in a series of connected scenes, though they didn’t necessarily feel chronological. Some had tones of comfort and embrace, while others spoke of grace and levity. Scenes happened in unison as well as flowing in multiple different timings. There were images of sadness and searching, forgetting and the ephemeral. Moments of somber spirituality had a decisively religious tone. Angular, robotic motions countered fluid, stretchy sequences. Vocalizations and text came into the mix as did percussive footwork phrases. The work was filled with so many different layers, textures and qualities. From one minute to the next, you didn’t know what was going to happen or how you might feel. An apt reflection of grief to be sure. </span></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQsKX16wd0rJKv4unnivOJW8BRn3AUIDw18bF91BS75BfJmcV0_Q8EhzZ41fQkQbfmCwHXvAVbilzTVfqPXVQfEIIaxb9gn21-ciHuuVbI9eAYceBFhQWH8hmBh994CAojmDWBj8JTECoFnIzfMBYu_49MQNZXwmPl5xWqwRrKPcgkiA61CQ/s2880/AD%20FAV%20Imagery%20in%20Peugh's%20KINK%20featuring%20Anthony%20Cannerella,%20photo%20by%20David%20DeSilva%20DSC_2606%201.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="2880" data-original-width="1920" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQsKX16wd0rJKv4unnivOJW8BRn3AUIDw18bF91BS75BfJmcV0_Q8EhzZ41fQkQbfmCwHXvAVbilzTVfqPXVQfEIIaxb9gn21-ciHuuVbI9eAYceBFhQWH8hmBh994CAojmDWBj8JTECoFnIzfMBYu_49MQNZXwmPl5xWqwRrKPcgkiA61CQ/s320/AD%20FAV%20Imagery%20in%20Peugh's%20KINK%20featuring%20Anthony%20Cannerella,%20photo%20by%20David%20DeSilva%20DSC_2606%201.jpg" width="213" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Amy Seiwert's Imagery in<br />Peugh's <i>Kink</i><br />Photo David DeSilva<br /><br /></span></td></tr></tbody></table><span style="font-family: helvetica;"><br />Joshua L. Peugh’s <i>Kink </i>took the closing spot on the SKETCH program, and it was certainly my favorite piece on the bill. It was fun. It was energetic. It was vibrant. It had both narrative and formal considerations. And it ended with some country line dancing that had me dancing in my seat. During his intro, Peugh outlined how thinking about nostalgia led him two different places: the exploration of country music through a queer lens and the re-visiting of traditional ballet syntax. Narratively, <i>Kink </i>was a triumph. From the opening social dance sequence, where pairings shifted and changed, to the many male pas de deux - duets that were simultaneously romantic, sensual and full of joy. But <i>Kink</i>’s formal/structural accomplishments were equally impressive. Textbook petit allegro phrases would converse with more contemporary movements. Batterie and grand pliés in 5th met with off-center postures and parallel shapes. Seeing <i>Kink</i>’s dialogue of classical and current brought Twyla Tharp’s 1973 masterwork <i>Deuce Coupe</i> to mind.</span></p><p><span style="font-family: helvetica;">I have long been a fan of the Imagery <i>SKETCH</i> series and its philosophy – creating a safe space for artists to investigate, observe and traverse new artistic pathways. The resulting choreography is always interesting and <i>Dear Diary</i> was no exception. But as the program went on Friday night, a question of viewership arose. The video intros told the viewer what the coming dance was about and what the intention was. Some audience members may love that; but it’s not for me. It felt a little like starting a novel, skipping hundreds of pages and then jumping to the end to see how things turned out. And I can’t help but wonder if I would have viewed the works in the same way without that information. </span></p><div><br /></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-32837768577613412632022-05-10T09:07:00.000-07:002022-05-10T09:07:01.634-07:00Smuin Contemporary Ballet<p><span style="font-family: helvetica;">My thoughts on Smuin Ballet's recent program, up on CriticalDance:</span></p><p><a href="https://criticaldance.org/smuin-contemporary-ballet/"><span style="font-family: helvetica;">https://criticaldance.org/smuin-contemporary-ballet/</span></a><br /></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-55414025863643473892022-04-12T13:52:00.001-07:002022-04-12T13:52:56.522-07:00Deborah Slater Dance Theater<p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbDEn2XKW4zG5d6ZCMD6YG90y8CpmITQePb7uNRuH0ccFAA-K5O0nZhpirW4sc8bck0ODyh8w0Bx3ZnR3FGjX5Ss-Wlzr6YnAfV3p7tqJUWVTp2Btsac8joMdN8u6OH1PiBNzAz1lHHlHph1HkaZ_Geu1P--gXjL5L7_zL7-68GdoAKtMoaQ/s1011/Sarah%201.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="756" data-original-width="1011" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbDEn2XKW4zG5d6ZCMD6YG90y8CpmITQePb7uNRuH0ccFAA-K5O0nZhpirW4sc8bck0ODyh8w0Bx3ZnR3FGjX5Ss-Wlzr6YnAfV3p7tqJUWVTp2Btsac8joMdN8u6OH1PiBNzAz1lHHlHph1HkaZ_Geu1P--gXjL5L7_zL7-68GdoAKtMoaQ/w400-h299/Sarah%201.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pictured: Sarah Lisette Chiesa<br />Video still: Jacob Marks</td></tr></tbody></table><span style="font-family: helvetica;">Deborah Slater Dance Theater<br /><i>In the Presence of Absence<br /></i>Livestreamed April 8, 2022</span></p><p><span style="font-family: helvetica;">Absence and presence. In my mind, complete opposite states of being. Though after Deborah Slater Dance Theater’s (DSDT) recent showing, I might reconsider that stance. Perhaps the relationship between the two is more complex, richer, maybe even wonderfully murky. </span></p><p><span style="font-family: helvetica;">Last weekend, DSDT invited audiences back to their theater/studio space in San Francisco to witness an early works-in-progress edition of In the Presence of Absence, a collaboration between Artistic Director Deborah Slater and performer Tammy Johnson. Derived from interviews undertaken about these past two pandemic years, as well as company members’ personal journeys, the set of solos (and one group work) embodies the vast range of experiences that this unprecedented time has birthed. How folks have felt absence, how they have felt presence and how the two may have unexpectedly intersected. Original text and spoken word from Youth Speaks added a powerful layer of voicing to the various movement episodes.</span></p><p><span style="font-family: helvetica;">The evening’s early solos, in which the dancers performed both movement and the text, were imbued with themes of reaching, pivoting, shifting and changing directions. Certainly fitting narratives for this time! The movement/word connection still needs to coalesce (not surprising for a work-in-progress), and it will be fascinating to see how those theatrical devices gel and morph over time. Movement-wise, the phrase material had an undeniable 90s quality: lots of backward somersaults, static attitude holds, Graham airplane turns and a slight improv-like esthetic. Later solos featured a recorded text, so the movement felt much freer and more open, except for one piece that was very hard to see because of the incredibly dark lighting. </span></p><p><span style="font-family: helvetica;">One of the most significant things about In the Presence of Absence is that it was truly a hybrid performance, with shows happening live and in person on both Friday and Saturday, and a livestream option available of opening night. Friday’s online offering happened in real time, as opposed to a taped version after the fact. And it went off without a hitch. The tech was without flaw, it wasn’t at all shaky, never cut out and the volume was right on point. This was a real triumph for DSDT. While many companies have been able to accomplish this hybrid format since March of 2020, it’s of note that others have not managed to pivot and shift in this way, including larger companies and presenters who have more resources and greater technical capabilities. </span></p><p><span style="font-family: helvetica;">Having said that, the night was far too late in starting. By the time the introductory remarks were completed, it was nearing twenty-five minutes from the appointed start time. Not an entirely uncommon occurrence, but a real pet peeve for many, including me. </span></p><div><br /></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-88856390276110604812022-03-13T11:11:00.000-07:002022-03-13T11:11:02.428-07:00Smuin Contemporary Ballet<span style="font-family: helvetica;">Smuin Contemporary Ballet </span><div><i><span style="font-family: helvetica;">Dance Series 1: Love, Smuin </span></i></div><div><span style="font-family: helvetica;">Streaming online March 10th-March 31st </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Smuin Contemporary Ballet recently completed its winter Bay Area tour, visiting venues in Walnut Creek, San Francisco, Carmel and Mountain View. But fear not if you missed them in person. Smuin has joined with other local companies to make performances available and accessible to online viewers. <i>Dance Series 1: Love, Smuin</i> fully delivered on Artistic Director Celia Fushille’s promise of range, both in style and music. And while it shouldn’t be, it is still noteworthy in the ballet ecology to see an entire mixed repertory bill comprised of female choreographic voices. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEir9bwG1r84k8RILKKCXdj8KI480qwGDe4h8X0Dr0g5OvFG9BYE_UwBzb_1_aSHc1iJPTgHDGPdQO4YgY0Txqaz0-O0iVk99WZ_gBgTV8kKNvd86qxAiNG84tAzUWfcKutwmrRWPz694FzRENVR30XkcOWOwg79WoeGb2eYLU_itEzoeGC6_g=s2560" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1938" data-original-width="2560" height="242" src="https://blogger.googleusercontent.com/img/a/AVvXsEir9bwG1r84k8RILKKCXdj8KI480qwGDe4h8X0Dr0g5OvFG9BYE_UwBzb_1_aSHc1iJPTgHDGPdQO4YgY0Txqaz0-O0iVk99WZ_gBgTV8kKNvd86qxAiNG84tAzUWfcKutwmrRWPz694FzRENVR30XkcOWOwg79WoeGb2eYLU_itEzoeGC6_g=w320-h242" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Mengjun Chen & Ian Buchanan in <br />Amy Seiwert's <i>Been Through Diamonds</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;"><br />Everything in Amy Seiwert’s <i>Been Through Diamonds</i>, a sweeping 2008 work set to a gorgeous Mozart score, was in constant motion through classical ballet vocabulary, contemporary phrases, and four changeable couples. During the first moments, the audience is introduced to three of the four pairs, all displaying a sense of hope, lightness and possibility. Then quickly, the partnerships begin to shift and mix, alongside a plethora of tonal layers. Newness. Surprise. Flirtation. Enchantment. Two questions began to emerge: ‘what might this next relationship be’ and ‘what might be learned about and from each other’. Midway through <i>Diamonds</i>, we meet the fourth couple, who also interacts with the rest of the cast. With a more andante musical tempo at this point, the movement felt sophisticated, gallant and graceful, yet still imbued with Seiwert’s choreographic dazzle. The canon timing she injected into unison segments suggested a shared emotion, experienced at different times, and in different spaces. The musicality was enviable – a leg fully extended in a beautiful position would suddenly bend into attitude, as the music simultaneously accented a chord or note. And while there was a fair share of serious or somber moments, the company seemed to be having so much fun. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhlP9XQLqLizzXvoD_Ammna2dNJSt7NGctSJBeZovbrwVTBSmCP4F3cHWVSTtXfvYu4vwBnd8yxJOOzaDuwdOeeWpPwxJcje2xB_orFzDpxbp3DI14_y02tf-JZCEwjJ2sLYlx6rFvP0ySCXFdxm9klq5thyBFlgog95NFCsDI7hXzHT3uF8w=s2560" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="2560" data-original-width="1585" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEhlP9XQLqLizzXvoD_Ammna2dNJSt7NGctSJBeZovbrwVTBSmCP4F3cHWVSTtXfvYu4vwBnd8yxJOOzaDuwdOeeWpPwxJcje2xB_orFzDpxbp3DI14_y02tf-JZCEwjJ2sLYlx6rFvP0ySCXFdxm9klq5thyBFlgog95NFCsDI7hXzHT3uF8w=w124-h200" width="124" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Brandon Alexander & Tessa Barbour in<br />Gina Patterson's <i>You Are Here</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;"><br />Gina Patterson’s <i>You Are Here</i> (originally choreographed for Cincinnati Ballet in 2013) brought an even more contemporary note to the evening. An ensemble piece for four women and six men, the landscape was charged from beginning to end, which fit with the music perfectly. While also of today, Ludovico Einaudi’s score conjured an undeniable Baroque quality – accumulation, constant flow and almost a quiet sadness. Patterson’s choreography followed suit to a tee. Running through space and gazing at the horizon communicated searching and longing. Small, scooping hand gestures and urgent embraces percolated with care and attention. The male pas de deux was fantastic, and when Patterson’s choreography called for it, the unison patterns were so precise and clear. Some different costumes, and a slightly brighter stage would have made the work a home run. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhe7XzY8atjWw5e1IOYVB153nfSEpRIjjEeeu5KQNBSVkPiAneHDjbm7uPIg3_-VHMvtXl6a3mhy9OtbYRgQ4p43XjWYwbmyzEfQCHO4_9tnmPk6qp-KICFuYwWnSIMGlnLPGpikpx5lhLEXSOMMBfXeUEilqxXTopBPvz-o2jv1UF9252R1A=s2560" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1708" data-original-width="2560" height="214" src="https://blogger.googleusercontent.com/img/a/AVvXsEhe7XzY8atjWw5e1IOYVB153nfSEpRIjjEeeu5KQNBSVkPiAneHDjbm7uPIg3_-VHMvtXl6a3mhy9OtbYRgQ4p43XjWYwbmyzEfQCHO4_9tnmPk6qp-KICFuYwWnSIMGlnLPGpikpx5lhLEXSOMMBfXeUEilqxXTopBPvz-o2jv1UF9252R1A=s320" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Yuri Rogers, Maggie Carey & Mengjun Chen in <br />Amy Seiwert's <i>Dear Miss Cline</i><br />Photo Chris Hardy</span></td></tr></tbody></table><span style="font-family: helvetica;"><br />I enjoyed Seiwert’s <i>Dear Miss Cline</i> when it premiered back in 2011, though I have to admit it wasn’t my absolute favorite. Set to a selection of recordings by Patsy Cline, the dynamics felt a little static and the number of internal stops and starts broke the flow of the overall composition. When I saw it two years later, I had changed my tune. The stop/start thing was (and still is) present, but a different cast had brought a vitality and energy that revealed so much more dynamic range. Such was true at this viewing as well. <i>Dear Miss Cline</i> transported us to a land of joy. Abounding with lilty social dance, smooth footwork, even some square dance influences, the large group work (14!) sparkled. A youthful, exuberant community oozed from every inch of the stage, whether the dancers were engaged in stylized, everyday tasks or complex partnering. No matter the chapter – charged, cheerful or cheeky - the cast’s acting was on point, especially the <i>Tra le la le la Triangle</i> pas de trois, danced by Maggie Carey, Mengjun Chen and Yuri Rogers. The humorous moments of purposeful uncertainty were delightful.
</span></div>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-49211789930983304452022-03-03T14:05:00.002-08:002022-03-03T14:05:59.304-08:00Diablo Ballet<p><span style="font-family: helvetica;">Diablo Ballet</span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjp_9oeC-fpk1UmQwdumNxsa0I3LUO-RGyTkjvVZVx5LVD5GLEDASrPSXn_NSUUwwJOgItv0xuM1XoFWPmAKdsm9iuEbhJAeinKvrQPpZViB2OKp4UCPJFgcO1Y-r7AenPIGfN0anGhOa3IXym-7rakhptbA1cmupxqNZ8V9DySYJHucZZo-Q=s2560" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="2560" data-original-width="2222" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjp_9oeC-fpk1UmQwdumNxsa0I3LUO-RGyTkjvVZVx5LVD5GLEDASrPSXn_NSUUwwJOgItv0xuM1XoFWPmAKdsm9iuEbhJAeinKvrQPpZViB2OKp4UCPJFgcO1Y-r7AenPIGfN0anGhOa3IXym-7rakhptbA1cmupxqNZ8V9DySYJHucZZo-Q=w348-h400" width="348" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;">Pictured: Raymond Tilton and Jackie McConnell<br />Photo: Rosselyn Ramirez</span></td></tr></tbody></table><span style="font-family: helvetica;"><i><br />Cinderella’s Wedding</i></span></p><p><span style="font-family: helvetica;">Performed live at The Lesher Center for the Arts - February 11th-12th, 2022<br />Streamed online – February 18th-27th, 2022</span></p><p><span style="font-family: helvetica;">As the time came to bid February adieu, Diablo Ballet had a special invitation for virtual audiences. For a little over a week, they made their most recent program, <i>Cinderella’s Wedding</i>, which ran at The Lesher Center for the Arts in Walnut Creek over Valentine’s Day weekend, available for online viewing. It was such a wonderful opportunity both for viewers not in the area, or for those who may still feel a little more comfortable at home than in the theater. </span></p><p><span style="font-family: helvetica;">Diablo Ballet, under the Artistic Direction of Lauren Jonas, is known for crafting well-rounded programs, with something for every taste. <i>Cinderella’s Wedding</i> was no exception. The quadruple bill was filled with contemporary ballet, classical ballet, historic works and new debuts. It was classy and charming – a real treat to enjoy in person or at home.</span></p><p><span style="font-family: helvetica;">An ideal welcome into the performance arena, George Balanchine’s <i>Tschaikovsky Pas de Deux</i> took the opening spot on the program. What an elegant duet to transcendent music, danced beautifully by Olivia Powell and Walker Martin. The classic 1960 choreography is simply a joy to watch, a love letter to movement - light and lofty, sophisticated, precise yet delicate. Never overly busy, but always captivating. Powell and Martin handily delivered both the partnering and the individual variations. The fish dives, daring; Martin’s triple tours en l’air, textbook perfection; and the final lift, phenomenal. </span></p><p><span style="font-family: helvetica;">Up next was the first world premiere on the bill, <i>Wayfaring Pilgrim</i>, choreographed by current Diablo dancer Michael Wells, set to a blues suite. While the contemporary ballet ensemble work did not feel like a linear narrative, it was surely charged. Moments where the group clustered together and then fractured apart felt a comment on community, and the loss of it. Solo sequences indicated a lone-ness, an isolation, even when surrounded by others. Wells cleverly injected the choreography with stylized pedestrianism, giving <i>Pilgrim</i> an approachable, relatable tone. The drama and emotion were well communicated by the entire cast, though the unison was a bit iffy from time to time. </span></p><p><span style="font-family: helvetica;">Wells was back with Amanda Farris for an excerpt from Val Caniparoli’s <i>Book of Alleged Dances</i> (1998), scored by John Adams. The chosen chapter, a duet titled <i>She’s So Fine</i>, provided another lens on contemporary ballet but this time, peppered with disco tropes. Slides and step touches abounded with appropriately matched arm gestures – rolling hands, motions led by the thumbs. It was a celebration of the fun of that time. But the genius of Caniparoli’s work is that <i>She’s So Fine</i> is not a ‘disco’ duet nor does the music particularly suggest it. Instead, disco form makes an appearance every once in a while, almost like the pas de deux is seasoned with that esthetic. </span></p><p><span style="font-family: helvetica;">The final world premiere, and centerpiece of the program, was Julia Adam’s <i>Cinderella’s Wedding</i> – a lovely, graceful interpretation of the last part of the Cinderella narrative. As the work begins, the audience is transported to the thick of the action. The Prince (Raymond Tilton) and his friend’s (Felipe Leon) search for the foot that fits the shoe left behind at the ball. Feet that hope to be a match appear from behind the scrim, until Cinderella (Jackie McConnell) is found. And from there, the story unfolds with a celebratory reception, fairies from every season, and a happily ever after for the happy couple. Stand out performances included Powell as the stepmother as well as Wells and Martin as Cinderella’s stepbrothers. In fact, the pas de trois for the three of them was a significant part of the overall piece. The ensemble waltz sequence was sweeping and grand. And amongst the fairies, Julia Meister’s spring was sprightly and staccato, while Jordan Tilton’s summer was oh so dreamy. Joyful, buoyant and flirtatious certainly describes the main couple, with the final pas de deux filled with giant lifts taking up space. An excited, elated tone pervaded the entire stage from beginning to end, albeit a stage that was a little crowded.</span></p><p><span style="font-family: helvetica;"> </span></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-46519599408721010482021-12-20T12:22:00.002-08:002021-12-20T12:22:19.861-08:00Mark Morris Dance Group<p><span style="font-family: helvetica;">Mark Morris Dance Group gave one performance at Cal Performances last weekend - I was there for DanceTabs:</span></p><p><span style="font-family: helvetica;"><a href="https://dancetabs.com/2021/12/mark-morris-dance-group-water-jenn-and-spencer-dancing-honeymoon-v-san-francisco/">https://dancetabs.com/2021/12/mark-morris-dance-group-water-jenn-and-spencer-dancing-honeymoon-v-san-francisco/</a><br /></span></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-51708936059005206482021-12-14T09:54:00.005-08:002021-12-14T09:54:49.319-08:00San Francisco Ballet<p><span style="font-family: helvetica;">San Francisco Ballet returned to the War Memorial Opera House for <i>Nutcracker</i>! My thoughts are up on DanceTabs:</span></p><p><a href="https://dancetabs.com/2021/12/san-francisco-ballet-nutcracker-san-francisco-4/">https://dancetabs.com/2021/12/san-francisco-ballet-nutcracker-san-francisco-4/</a> </p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-14143036565220050092021-11-10T09:37:00.001-08:002021-11-10T09:37:26.429-08:00Ballet Hispanico<p><span style="font-family: helvetica;">My thoughts on Ballet's Hispanico's recent appearance at Cal Performances:</span></p><p><a href="https://dancetabs.com/2021/11/ballet-hispanico-noche-de-oro-arabesque-tiburones-181-san-francisco/">https://dancetabs.com/2021/11/ballet-hispanico-noche-de-oro-arabesque-tiburones-181-san-francisco/</a><br /></p><p> </p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0tag:blogger.com,1999:blog-30021428.post-25725666897312117202021-11-01T09:24:00.000-07:002021-11-01T09:24:03.900-07:00RAWdance - "Take 3"<p><span style="font-family: helvetica;">My thoughts on RAWdance's <i>Take 3</i> program, part of ODC Theater's fall 2021 season - up on DanceTabs:</span></p><p><span style="font-family: helvetica;"><a href="https://dancetabs.com/2021/10/rawdance-take-3-shadow-part-1-the-healer-san-francisco/">https://dancetabs.com/2021/10/rawdance-take-3-shadow-part-1-the-healer-san-francisco/</a><br /></span></p>Heather Desaulniershttp://www.blogger.com/profile/14254214906070439664noreply@blogger.com0