Claudia Bauer is a freelance writer and lifelong bunhead in the San Francisco Bay Area. Her writing has appeared in Dance Magazine, Pointe Magazine, the San Francisco Chronicle, Critical Dance and SF/Arts Monthly. She tweets every so often at @speakingofdance.
Under are the articles written for DanceTabs.
Alvin Ailey American Dance Theater – Open Door, Awakening, A Case of You, Revelations – San Francisco
★★★✰✰ Alvin Ailey American Dance Theater gave two new works their West Coast premieres on Tuesday at Zellerbach Hall, the opening night of its annual residency at Cal Performances in Berkeley.
★★★★✰ It’s a treat to be in the theater when a dancer achieves a triumphant performance…
★★★✰✰ Death was long on Pandit Chitresh Das’ mind. Over the past decade, the world-renowned kathak master prompted his San Francisco–based dance company to consider “What will you do when I am no longer here?”
San Francisco Ballet – Fearful Symmetries (premiere), Rubies, Drink to Me Only with Thine Eyes – San Francisco
★★★✰✰ “But despite his high concept, Scarlett seemed to lose the thread halfway through, resorting to lascivious theatrics to complete the work…”
Choreographer Gerald Casel describes his new work, Splinters in Our Ankles, as an exploration of the tinikling, a lively folk dance of the Philippines.
The first time I saw San Francisco Ballet’s current production of The Nutcracker, a little boy sitting in front of us turned to his mother and whispered, “It’s magic!” Eleven years later, to the very day, it’s still a magical experience.
Vintage Macintosh computers play a central role in Mainframe, a new evening-length dance-theater work by San Francisco choreographer Katherine Hawthorne.
José Manuel Carreño on being a great Cuban dancer, now director of Silicon Valley Ballet, and the strong relations developing between the USA and Cuba and what that means for ballet.
In Khan’s choreography, kathak’s warp-speed spins and fierce gestures are immediately recognizable yet subverted and sculpted by contemporary weightedness and extended lines.
If you’re ever within earshot when a member of Fog Beast yells out, “Hey, kids, let’s put on a show!” – fasten your seatbelt. Because a performance by this underground San Francisco dance-theater duo is guaranteed to be a wild night.
The Propelled Heart is a full-immersion experience, a wading into the waters of dance as a spiritual practice.
There was much talk of spiritual awakening as the audience filed out of the YBCA Theater on Friday evening, after the opening performance of Sankai Juku’s Umusuna.
It’s not your granddaughter’s Cinderella. Alexei Ratmansky’s version dispenses with tutus and glass carriages in favor of a deco-cum?post-Soviet point of view.
The Mariinsky Ballet are currently touring California and Claudia Bauer took the opportunity to see the rarely spied Raymonda. Viktoria Tereshkina and Vladimir Shklyarov were the leads…
If it was up to me, I would pay more [salary] to the corps than to the principals. Half the ballet depends on them, and it is very hard to be in a good mood and trying your hardest every day when you are not getting the attention and the development that we get as principals and soloists.
In the end, SKETCH is about the artists and their learning process, and it’s our good fortune that they share it with us in performance.
I’ve seen Garrett + Moulton’s The Luminous Edge three times now, and I’ve yet to plumb its deepest currents…
The issue Moses explored most successfully in SILT was how to engage audiences more deeply, a topical subject at a time when many people have lost interest in the traditional theatre environment.