Saturday Matinee

It’s so difficult to imagine San Francisco Ballet without Tina LeBlanc. I remember her since my college days, when I would drag my dormmates to see performances so we could get the group discount. To me, she is a very big part of San Francisco Ballet; she’s always been there since I became a regular fan of the company. Again, it’s really really hard to imagine San Francisco Ballet without her.

Tina LeBlanc and Gonzalo Garcia in Balanchine's Tchaikovsky Pas de Deux. © Erik Tomasson

She symbolizes a lot of what the company stands for, and it’s amazing how early the direction of the company was set on its course for its standards of excellence by hiring dancers such as LeBlanc when she joined the company 17 years ago. Her technical speed and precision is solid and astounding, yet it’s her artistry that shines. Steps are never steps, but an emotion, an idea, a character, or a phrase. Her technical control is breathtaking. Her whole being radiates, and in her final performance, her heart was on her sleeve at every precious moment.

Tina LeBlanc and Griff Braun in "My Funny Valentine" from Lubovitch's ...smile with my heart. © Erik Tomasson

To talk of anything specific about her final performance seems narrow-minded, because her persona is so much bigger than this one night. Her final farewell performance was a worthy tribute, with excerpts from four modern repertory pieces, interspersed with video clips of her past work as well as interviews with people who know her well. The versatility of the video clips of her past work was truly impressive, and it made me sad that I had missed her in Square Dance and Giselle. The four excerpts she performed highlighted her versatility and her strengths. She flew through Balanchine’s Tchaikovsky Pas de Deux with lightning precision and a joyful lightness, partnered by guest artist and former SF Ballet principal, Gonzalo Garcia who never looked better or happier to be on this stage. She flies through the steps with confident spontaneity, looking like she was born to dance this piece. She shows us another side of her personality with Lar Lubovitch’s “Funny Valentine” from …smile with my heart, danced with guest artist Griff Braun, reaching her way through the dark passions of this piece with fluidity and wholehearted commitment. The simplicity of Tomasson’s Adagio from Sonata showcased LeBlanc’s transparency and lyricism, mirrored sensitively, impeccably by partner Ruben Martin. And the pas de deux and finale from Balanchine’s Theme and Variations was a celebration for LeBlanc as its reigning queen, and Davit Karapetyan by her side with quiet boldness. 

Tina LeBlanc and Davit Karapetyan in Balanchine's Theme & Variations. © Erik Tomasson

It was an incredible night. Every moment onstage sparkled, packed with consideration, thought, and emotion. The audience savored every single moment. She received a touching send-off with curtain calls from her frequent partners and fellow dancers, and the audience roared when her two adorable sons came to give her flowers. Helgi Tomasson presented his star ballerina to the world one more time. It’s an understatement to say that she will be missed. 

She’s shined in so many roles in my mind, yet my personal favorite remains her role in Rodeo. There was something so hilarious and heartbreaking and yet something so relateable in that moment she comes out in the yellow dress. It’s such a still moment, yet it spoke volumes. 

What are your favorite Tina LeBlanc roles?

More shaky curtain call photos.

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