There’s a new star in our sky and she’s a ballerina named Sarah van Patten.

She showed a dramatic flair, a la Marlene Dietrich in the films----sexy, enigmatic, erratic, magnetic, sophisticated. This theatrical persona is profound and new to those of us who have seen her in the past 20 seasons at the S.F. Ballet. The theatrical challenge was to play the title role in the stunning new Cathy Marston work "Mrs. Robinson" featured in the SFB’s Program One at the Opera House, adapted after the stellar movie “The Graduate” that had propelled young Dustin Hoffman to stardom.

The mismatched affair between the student Benjamin (Joseph Walsh) and Mrs. Robinson however has shifted to the perspective of the woman, a wife in a treadmill life seeking escape found in the arms of the introverted young man, who is searching for his goals in a life still unfathomed. In seducing him she brings him out of his shell, only to find him falling for her own unsullied daughter.

This is the kind of erotic drama with psychological overtones is not commonplace on the ballet stage. Between the innovative choreography of Marston---including one sliding on the floor between the legs of the lover---and the battle of the title figure with ennui, this becomes an arresting drama given the multi-dimensional manner of Mrs. R.: The great sophisticate and, ultimately,  a tragic figure in a purposeless existence.

Van Patten plays this complex figure like an accomplished film actress as both find their altered reality, however briefly, in the affair which is foreordained to be short-lived. This is an acting/dancing role in a piece that’s a valuable addition to contemporary dramatic ballet. As for Walsh, he played an immature, petulant man younger than he skilfully, becoming a foil (or dominator?) for Mrs. R.

The eclectic score by Terry Davies was itself provocative with its sonic question marks, from the tick-tock opening to the wail of the soprano sax.

“Mrs. Robinson” has a huge local angle, as the original tale ran back and forth across the Bay Bridge.

Balanchine’s “Symphony in C” to Bizet’s music was back for the umpteenth time. Yes, it’s a crowd-pleaser, yes, it’s a glittering white ballet with “diamonds” and diadems and eye-catching earrings and a cast of some 60 in a very traditional mold. And yes it’s starchy, based on classical ballet moves. Curiously, the same music graced a more modern choreography by Michael Smuin, Helgi Tomasson’s predecessor as SFB artistic director. Smuin’s iconoclastic  slow movement was unforgettable with the leading lady languidly carried about the stage by a bevy of male admirers. But, for whatever the reason, Smuin’s ballets remain taboo on this stage throughout the 37 years of Tomasson’s soon-to-end tenure.

But Tomasson, 79, must be credited for repeatedly engaging guest choreographers of the highest talent like Marston, even when  they put his own creative work in the shade. Combined with acquiring major dancing talent from many lands, he has produced a world-renowned major company, as underlined in the tribute video shown introducing performances. His own ballet “Trio” on this program reflects the very strong influence of George Balanchine, for whom Tomasson danced for most of his on-stage career. ”Trio” featured promising new talent such as Norika Matsuyama, Elizabeth Powell, Wona Park, Cavan Conley, Henry Sidford, Nathaniel Remez and Esteban Hernandez in the performance of Feb.6 reviewed here.

If the group dynamic in “Symphony in C” showed some minor imperfections near the start, the rest of the dancing was quite dazzling in its focus and unity, almost as though Covid19 had not been haunting large performing ensembles everywhere.

The orchestra under conductors Martin West and Ming Luke was responsive and animated.

THE NEW REALITY----Masks and vaccinations are mandatory throughout for audiences. Cast lists are no longer published because, as a staffer explained, Covid positives can require short-order cast reshuffling. Instead, the casts for that day are on view in the lobby, where many patrons on Sunday took pictures of them to take home and scrutinize.

With some 70-plus dancers on stage this night, we spotted just one black dancer, in the women’s corps de ballet.

This Program One runs through Feb. 12.

SAN FRANCISCO BALLET. At the Opera House, S.F. For info: (415) 865-2000, or go online: sfballet.org.

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