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…”
By the end, I felt our journey of discovery had involved driving down one of those long, straight, interminable cross-American highways, with nothing but the same prairieland in view.
While some of the views expressed may not chime with your own, the fascination of this book is to understand how contentious maintaining and developing ballet as vibrant theatre often is.
Christopher Hampson’s production, set to Engelbert Humperdinck’s 1893 opera score, dances round traditional perceptions of good and evil, raising sinister notions about the invisibility of danger lurking in the real world.
There are many stand-out moments in Marshall’s work, in its humour, visual impact and through the regular break-away from the spoken text in synchronised group dancing to catchy tunes of a middle-eastern, gypsy or Yiddish style…
Music is always my anchor. I can’t work without a very solid musical base. The lion’s share of the work I’ve made over the years has been music-led and the primary instigator in Subterrain is the Turnage music.
The performance was sold out and very warmly applauded and I hope the Festival authorities will take notice, and schedule a similar programme in future years.
Possokhov’s Rite of Spring is a mixture of mostly good choices with a few that seem rather odd to me.
San Francisco’s second programme was better balanced than the first, with contrasting works created for the company within the past two years.
Aimée Tsao, watching San Francisco Ballet for over 35 years now, with a general primer on the company and some thoughts on the repertoire they are bring to London in September 2012…
That said, the narrative is graphic and gripping. Scottish Ballet’s dancers prove themselves dramatic actors in supporting roles as well as principal ones….
Fortunately, Jerome Robbins’ West Side Story Suite, the final dance of the evening, was anything but tedious. One of the greatest entertainers in ballet, Robbins knew how to keep his audiences awake, engaged, and excited.
Calling this ballet a guide (Guide To Strange Places) is not really precise because it’s more like a portal that lets you in and then leaves you on your own to figure out where you are. Whether you have absolutely no sense of direction or can find your way anywhere blindfolded could determine how you explore this terrain
True to style, San Francisco Ballet Artistic Director & Principal Choreographer Helgi Tomasson is showcasing his dancers in a highly varied programme of ten short works – no fewer than nine of them UK premieres – for their long-awaited return to the London stage.
12 Winners Announced: The Critics’ Circle National Dance Awards for 2011 took place today in London at The Place’s Robin Howard Dance Theatre.