Saturday Matinee

The clear crowd favorite for the night: Nutnaree Pipit-Suksun, with Tiit Helimets in Tomasson’s “7 for Eight”. Photo by Erik Tomasson.

One night, a group of medical doctors, Ph.D. graduate students, and one health PR girl went out for a night in the city, complete with dinner and a night at the ballet.

On Friday night, I attended Program 1 of SF Ballet’s official 75th anniversary season. The programming was a solid program of dance, showcasing a diverse spectrum of dancers. It definitely wasn’t the flashiest of programs, or even the best choreography by all means, but the exquisite dancers made the evening a thrilling one.

The program opened with a nod to its past, with Lew Christensen’s Filling Station, an Americana ballet reminiscent of Robbins’ Fancy Free. Lew Christensen danced as the first Prince Siegfried in Swan Lake ever in the United States, and was an early artistic director of San Francisco Ballet. The Filling Station doesn’t match Fancy Free in its character nor choreography, but it had brilliant moments of innovation, such as the moment when Mac, a filling station attendant danced by Rory Hohenstein, gives directions to a lost Motorist (danced by Steven Norman with hilarious insecurity) by dancing out directions. I also saw for the first time choreography for the phrase, ‘I have to pee’, desperately danced by Margaret Karl, as the Motorist’s daughter. Some movements such as this one are universal and easily understood by everyone. The filling station serves as a microcosm of a slice of American life in the 1930′s, where it serves as a pitstop for a cross section of bypassing people. This includes the drunk Rich Girl and her date, danced by Katita Waldo and Val Caniparoli. Katita Waldo utilized her glamorous long limbs to langorous lengths to exemplify her drunken falls and movements, with hilarious results. Christopher Mondoux skirted the line between drama and fun in the role of the policeman, and Matthew Stewart and Aaron Orza were really fun to watch as Mac’s two friends. Matthew Stewart soared in his jumps, and Aaron Orza’s comedic acting made it hard to tear your eyes away from him even if he was upstage. Mac was a perfect role for Rory Hohenstein, with his all-American style, although his balletic upper body would creep in once in a while to the Gene Kelly-like choreography.

The costumes, by Paul Cadmus, were slightly schizophrenic. Costumes for half the cast, including Mac and the Motorist, had a Pleasantville-meets-Toontown feel, with bright colors and cartoonish proportions, while the costumes for the other half of the cast, such as for Mac’s friends Ray and Roy, were simple rolled up jeans and a t-shirt that lacked a retro or cartoony feel. In all, Filling Station was definitely a crowd pleaser with lots of laughs and heart, making this piece more poignant due to its history with this ballet company.

The second piece in the program was Tomasson’s 7 for Eight. Set to the keyboard concertos of Bach, the look of the ballet was simple with the costumes and the set in an elegant and simple black, which complemented the simplicity of the music well. Tomasson’s choreography, however, I find frustratingly literal. Happy dancing for happy music – that’s ok, but the meaning seems to stop there. There were many static moments as well, which the action would just stop. Bach’s music is simple, yes, but there is meaning and depth in Bach’s simplicity, as well as anticipation in its silence. The static moments in the choreography were merely static, like awkward silences, with no forward propelling energy nor arc in time. The choreography also occasionally forays dangerously into the realm of melodramatic cheesiness. In one of Nutnaree Pipit-Suksun and Tiit Helimet’s duets, he enters the stage carrying her with one arm over his shoulder while she is crumpled dramatically in fetal position, as he walks slowly onstage to sad music. I just can’t understand if the audience was supposed to feel sad for Nutnaree or not, and why, especially when their chemistry nor their relationship hadn’t been clearly communicated with the audience.

The ultimate saving grace for this piece was the exquisite dancing that poured out from the stage to transcend above the mediocre choreography. In the first duet with Nutnaree Pipit-Suksun and Tiit Helimets, in the midst of awkward choreography and static moments, Nutnaree would strike a breathtaking arabesque that made everyone stop and pay attention. (In fact, everyone in our group fell completely in love with Nutnaree and thought she was the highlight of the night. Her fan base is growing by leaps and bounds.) Tiit Helimets matched her and made for a stunning regal partner. Joan Boada’s restrained passion took over his entire being, where I found myself watching his facial expressions as he seemed to be dancing with every ounce of his body, despite a haltingly choreographed solo. Frances Chung and Elizabeth Miner made refreshing additions to the cast, as well as the high energy and precise Tina LeBlanc. This piece, with its faults, still made for a great showcase of some of the best dancers in the company. If I had to close my eyes and dream up a group of dream dancers for this piece, I could not dream up a higher caliber of dancers. They completely saved this piece and made it a thrill for me to watch.

The program ended with Balanchine’s “Diamonds” from the full length ballet, Jewels. Sometimes described as the least interesting act next to the sexy “Rubies” and the poetic “Emeralds”, there is a subtle still beauty. The program notes quotes Suzanne Farrell, saying, “‘Diamonds’ is about the majesty of service and the glory of humility”. It’s amazing to me how Balanchine captured this quality, exactly, in this excerpt. Many people have also said that the quality of Diamonds really depends on who is dancing it; Suzanne Farrell, the original cast member, is credited for “additional coaching” for this production. Yuan Yuan Tan is not Suzanne Farrell, but definitely puts her own spin on things that work beautifully for this piece. Her control and brilliance shines through the entire act. Ruben Martin complemented her as her endearing and willing partner. When Ruben Martin kneels to kiss Yuan Yuan Tan’s hand at the end of the pas de deux, in one moment, it perfectly encapsulates the pas de deux, which was heartbreakingly moving, sweet, and even slightly impish all at the same moment. There were even audible “awwws” in the audience. The female ensemble dancing looked a little ragged, with differing arms that took away from its uniform look. However the ensemble dancing onstage in the grand finale was an impressive effect, where the stage was overflowing with couples and added to the celebratory atmosphere as Program 1 came to a close.

In all, it was thrilling night for me to see brilliant dancing on stage that prevailed above all else. There is so much excitement that exudes from the dancers. One thing I noticed was that this program might not be the best for “first-timers”, but it was great for people who love watching great ballet dancing. I think Program 2 is more suitable for first-timers, with better choreography and equally great dancers. My review on Program 2 to come. What better way to spend a night with friends, and dragging them (and me) from our normal working lives?

Did YOU see it? What were your thoughts? How were some of the different casts?

Many thanks for SF Ballet for a great evening. A special hello to Chris if he’s reading this, it was great meeting and dishing with you.

SF Ballet Program 1, plays through February 9.