"ODC Theater" tag
Nicholas Strafaccia, Gerald Casel and Samuel Wentz in Fluster.© Tim Russell. (Click image for larger version)

GERALDCASELDANCE – Cover Your Mouth When You Smile, Thirdperson, Fluster – San Francisco

★★★✰✰   Evaluating works in progress is a peculiar exercise. Without knowing what parts of a dance are complete or still conceptual, or where they fit within the context of a larger yet to be created piece a review is a guessing game.

Courtney Moreno, Chinchin Hsu and Arletta Anderson in Le grand spectacle de l'effort et de l'artifice.© Robbie Sweeney. (Click image for larger version)

Funsch Dance Experience – Le grand spectacle de l’effort et de l’artifice (premiere) – San Francisco

★★★★✰   The work reflects Funsch at her razor-sharp best: rigorous and searingly self-discilplined in design, grounded and emotionally present in performance.

Ryan Smith and Wendy Rein in duet by Ann Carlson for Double Exposure.© Andrew Weeks. (Click image for larger version)

RAWdance – Double Exposure – San Francisco

★★★★✰   Sixteen choreographers, 13 new works, 2 dancers, 70 minutes, 4 years in the making. That’s the equation for Double Exposure, premiered by the San Francisco contemporary-dance duo RAWdance on Thursday, July 28. It’s an epic production that is greater than the sum of its parts.

Garrett Anderson and Anne Zivolich-Adams in Joe & Ida by Penny Saunders.© Andrew Weeks. (Click image for larger version)

SFDanceworks – Concerto Six Twenty-Two, Lickety Split, Joe & Ida, Portrait, Z – San Francisco

★★★✰✰   With this first season, Sofranko has proved himself a good curator of choreographic and dance talent, with a preference for loveliness in movement and movers.

Wiley Naman Strasser in Manifesting.© Margo Moritz. (Click image for larger version)

Hope Mohr Dance – Manifesting (premiere) – San Francisco

★★★✰✰   What is the purpose of an artist’s manifesto? When does a defined creative vision ossify into a rigid, limiting doctrine?

GERALDCASELDANCE in Splinters in Our Ankles.© Robbie Sweeny. (Click image for larger version)

GERALDCASELDANCE – Splinters in Our Ankles – San Francisco

Choreographer Gerald Casel describes his new work, Splinters in Our Ankles, as an exploration of the tinikling, a lively folk dance of the Philippines.

Megan Wright in Mainframe.© Benjamin Hersh. (Click image for larger version)

Katharine Hawthorne – Mainframe – San Francisco

Vintage Macintosh computers play a central role in Mainframe, a new evening-length dance-theater work by San Francisco choreographer Katherine Hawthorne.

James Gilmer and Sarah Cecilia Griffin in Seiwert's Traveling Alone.© David DeSilva. (Click image for larger version)

Amy Seiwert’s Imagery – SKETCH 5: Stirred Program – San Francisco

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.

Scott Wells & Dancers – Father On – San Francisco

Ah, the brilliance of brevity. Scott Wells & Dancers plunge straight into Father On with a thirty-second audio track that sums up courtship, marriage,and conception.

BODYTRAFFIC in Kollide.© Christo Brock. (Click image for larger version)

BODYTRAFFIC – Barak Marshall, Kyle Abraham, Richard Siegal bill – San Francisco

This company is the definition of esprit de corps, period.

Weston Krukow, Annali Rose and James Gilmer in Amy Seiwert's The Devil Ties My Tongue.© David DeSilva. (Click image for larger version)

Amy Seiwert’s Imagery – Sketch 3 – San Francisco

Amy Seiwert’s Sketch series is about dancers taking risks. Aimée Tsao caught up with Sketch 3 and works by Seiwert, Marc Brew and Val Caniparoli…

Kate Weare Company in Drop Down.© Kate Weare Company. (Click image for larger version)

SF Walking Distance Dance Festival – Kate Weare, Brian Brooks and others

Kate Weare, originally from the Bay Area and now based in New York, is easily the most intriguing choreographer in the festival. It certainly helps that she also has outstanding dancers…

Elana Altman – San Francisco Ballet – Soloist

Muriel [Maffre] was an inspiration for me because she got so many great roles even though she was tall. After she retired I started to get some of her old parts.

Peng Yu-Chen and Brandon Freeman in Gina Patteron's The Inconstant.© David deSilva. (Click image for larger version)

Amy Seiwert’s SKETCH 2, The Women Choreographers & ODC/Dance Summer Sampler – San Francisco

The idea behind Amy Seiwert’s SKETCH 2 is to promote women ballet choreographers. Included in the press kit was an informal survey of twenty-four ballet companies with income over $5 million in the United States. Of the 302 works to be performed this upcoming season only 27 were by seventeen women.

Norma Fong and Brendan Barthel of Robert Moses' Kin (work unamed). © RJ Muna. (Click image for larger version)

Robert Moses’ KIN Dance Company – ODC and Novellus Theater bills – San Francisco

In a world where choreographers with their own eponymous companies prevail, I am happy to see that Moses sees the value of feeding his dancers a diverse diet of artistic experiences, definitely a situation where everyone wins, audience included.

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