BALLET FESTIVAL AFTERMATH
There’s hope for us all when a lead dancer here moves on to choreography and finds his inspiration with 13thcentury Persian poets.
The Frenchman Nicolas Blanc, a principal here shortly after the Millennium, turned to the poet Rumi in creating his new “Gateway to the Sun” for the San Francisco Ballet. The main character is the lonely, reflective Poet, presumably Rumi himself, separate but connected with the community around him. Max Cauthorn played that lead barefoot in a breakthrough dancing interpretation. His solemnity contrasts beautifully with the animated crowds all about, then lightened by joining in a pas de trois with two women. Blanc’s unusual holds and lifts in his choreography make this a work crying out to be revived long after the festival of nine premieres is packed way. Not the least of the attractions has been one of the memorable scores by Anna Clyne, today ranking in the front lines of female composers. Her work is episodic and consistently expressive, underlining the action without dominating it.
Poured into this drama without headlines were the eminent interpreters Sasha de Sola and Jennifer Stahl.
The lead in Yuri Possokhov’s new “Violin Concerto” was Sasha Mukhamedov decked out in pink and with hip-wiggles to prove that she never takes herself too seriously. All but stealing the show was the electric dynamism of Joseph Walsh’s solos, enough to overshadow his black pompadour rivaling in height JFK’s (that president was shorter than most, and the extra topside hair helped raise him above the dais at speeches).
What I like best about Possokhov’s work is a certain strain of whimsey—never easily arrived at.
FEET AND FEATS—Yes, “Violin Concerto” offered us daring feet. In addition, daring feats as well, most notably a strong dancer with arms aloft supporting a knotted-up partner for a good five seconds. Which was more arresting: The stratospheric lift, or the complex knot of a woman?
Program Three opened with yet another world premiere, Claudia Schreier’s “Kin.” Dores André who is tapped for one lead role after another, is the salient figure emerging from a melee of dancers running about to a forgettable but portentous score. She is drawn into a community by WanTing Zhao, offering a welcome kinship, even though penetrating the group fully proves daunting.
AFTERMATH—Overall, in this nine-premiere festival season, kudos for the creative concept of Breiner’s “The Queen’s Daughter.” Most memorable choreography was Blanc’s and, in “Resurrection,” Jamar Roberts’. Dazzling designs: “Madcap,” “Bolero.” Most notable dancers: Dores André , Sasha Mukhamedov, Tiit Helimets, Max Cauthorn, Joseph Walsh. Most notable additions to dance roster: Isaac and Esteban Hernández. Most memorable recent music: Anna Clyne. Of special note has been the highly international roster of the SFB, and its on-stage consistency.
DANCE NOTES—Casts rotate; these casts were from Jan. 27…..The success of this festival is due in large part to former Helgi Tomasson, who made most of the selections….Atlantan Schreier had started off as a Harvard student—hardly your typical choreographic launching pad… Blanc and Possokhov both have had careers with the S.F. Ballet.
SAN FRANCISCO BALLET’s Next@90 Festival, three world-premiere programs through Feb. 11, then a 12-day break. This was Program Three. Opera House, S.F. For info: (415) 865-2000, or online www.sfballet.org.
