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Flash Extra! 3-31: Dancers
as Dancemakers
Discovering S.F. Ballet's Native Choreographers
(Editor's Note: Due to
illness, we asked Dance Insider West Coast bureau chief Aimee Ts'ao
to step in as a last-minute replacement to Flash the following performance.
Aimee is a veteran dancer and ballet educator, who covers dance
for the Bay Area Reporter. Kind of like having Babe Ruth pinch-hit
for you; we think you'll like the results!)
By Aimee Ts'ao
Copyright 2000 Aimee Ts'ao
SAN FRANCISCO--Thursday
was opening night at the War Memorial Opera House for the second
of San Francisco Ballet's two Discovery Programs, evenings of new
choreography from mostly company members. This one included "Opus
50" by Christopher Stowell; "Night," the latest creation of Julia
Adam; and Yuri Possokhov's "Magrittomania." Given that I had gone
with no intention of reviewing (though out of habit and to compensate
for a fading memory, I did take notes, thank God) and only found
out this morning that I needed to pull a review together, this is
going to be the flashiest of Flashes.
Stowell's "Opus 50" to
the second movement of Tchaikovsky"s Trio for Piano, Violin and
Cello in A minor, op. 50, was serviceable to a point. He tends to
cram too many steps into too few counts and the result is that all
the movement phrases lose their individual identity. Some are quite
inventive, but need more time to show them off and be legible to
the audience. The opening, with the dancers sitting on stools, in
military jackets for the men and gowns for the women, evoked a "Graduation
Ball" atmosphere, but with a twist. Joanna Berman was exquisite,
as always, as the woman abandoned, reclaimed and left for good at
the end.
Adam's "Night" received
an instant, cheering standing ovation from the crowd. While I enjoyed
the dancers' energy, the choreography needed more working out (but
then, I know these choreographers did not get enough rehearsal time--what
else is new?). But it was very successful in conveying all the weirdness
and otherworldliness of the time and space we pass through drifting
in and out of sleeping and dreaming states. The commissioned score
by Matthew Pierce could have been more extreme in exploring altered
states; as it was it was pleasant without propelling the ideas on
stage. Overall, a good piece that could use some tweaking to make
it even better.
For me, the most elegant
piece of the evening was Possokhov's "Magrittomania," using images
from the Belgian artist's paintings, both as decor and costumes.
The music, by Yuri Krasavin, was actually a film score using Beethoven
as a springboard. The surreal quality of the classical phrases distorted
and added to other contrasting sounds was a perfect match for the
ballet. While a bit too classical in some places for my taste, Possokhov
manages still to build a beautiful overall structure for the choreography,
create some wonderful movement phrases and, most importantly, draw
some very expressive performances out of dancers who normally don't
move this well or with such feeling.
Discovery Program B is
a program worth seeing for these last two pieces. It repeats and
closes Saturday afternoon.
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