★★★★✰ 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.
★★★✰✰ 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.
★★★✰✰ What is the purpose of an artist’s manifesto? When does a defined creative vision ossify into a rigid, limiting doctrine?
★★★★✰ Created in 2010 for the National Ballet of Canada, this production of the late John Cranko’s 1965 ballet was a smash here in 2012; it was reprised in 2013 and it’s wonderful to have it back again so soon.
San Francisco Ballet – Continuum, In the Countenance of Kings (premiere), Theme and Variations – San Francisco
★★★★✰ San Francisco Ballet (SFB) saved the best for its last mixed bill of the 2016 season.
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.
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.
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.