Saturday Matinee

Last weekend, Smuin Ballet welcomed a few bloggers into their rehearsal room for us to get a preview of their upcoming spring program. Choreographer and Tulsa Ballet principal dancer Ma Cong was there to stage his ballet, French Twist, on the company. With this rehearsal, we got a glimpse of the piece that will be performed in May.

Since it’s still a few months away and Smuin Ballet is still knee-deep in their Winter program, it was such a different experience watching a piece in its early stages. From what I could see so far, French Twist is a piece that’s packed with movement, wit, and quirky humor. Set in ballet flats, there’s a momentum that’s outwardly horizontal with a radiating energy, rather than elevated and vertical as in classical ballet. There’s always something to see, and the movement emphasizes the syncopation in the music by French composer Hugues Le Bar. The music can be best described as post-Romantic neo-Baroque with an overlay of French cafe music + voice. The music is difficult to classify with multiple influences, but these genres comes together nicely with a quirky ease.

Cong ran rehearsal by dancing the steps himself along with the dancers, with a careful eye for detail. Even spacing of the fingers was addressed more than once, and his background in Chinese dance was visible especially in the way in dealing with the wrist and the hands. In the post-rehearsal Q&A with artistic director Celia Fushille, Cong talked about his background as well as his inspiration for this piece, first set at the National Choreographer’s Initiative last summer. His inspiration was Tom and Jerry cartoons, specifically in the way that the movement was not only perfectly musical, but there was inherent humor in the way the movement was so direct and sudden and perfectly placed and timed. He also talked about the challenges of resetting a work that was originally built on another set of dancers. He said one of the difficulties was remembering the original steps, but also adapting it to the strengths and personalities of the Smuin Ballet dancers. He’s tweaking a few details to the original piece, as well as almost revamping the entire finale.

It’s going to be quite a show, especially with Jiri Kylian’s Petite Mort and Smuin’s Songs of Mahler. Many thanks to Smuin Ballet and their warm hospitality for opening up their rehearsal.

Smuin Ballet’s 2010 Spring Program will be playing at the following places/dates:
Yerba Buena Center for the Arts, San Francisco (415)978-2787
May 7 – May 16
Lesher Center for the Arts, Walnut Creek (925)943-7469
May 21 – May 22
Flint Center, Cupertino (650)903-6000
May 29 – May 30
Sunset Center, Carmel (831)620-2048
June 4 – June 5

Smuin Ballet website

My favorite Tom and Jerry cartoon. I had forgotten how violent they are, and it’s still funny after all these years.

Sarah Van Patten in Tomasson's Swan Lake. © Erik Tomasson

There are so many other factors that can affect your experience in the theater. Expectations are a big one – high expectations are hard to meet. However for some reason last Saturday afternoon, the stars were aligned – my expectations in check from last year’s experience, a pleasantly honest and savvy date, and a gorgeous sunny day after days of rain – and I had a wonderful time at San Francisco Ballet’s Swan Lake.

This isn’t your grandmother’s staid Swan Lake of fluttering self-pitying swans. The sparkling costumes and sets by Jonathan Fensom still have that new car smell, with the sets creating an expansive open space for the story to unfold. As beautiful as the sets and costumes are, the best thing is that they allow for the story told through movement to shine.

Despite its deep roots in traditional classical ballet, San Francisco Ballet’s production isn’t a dusty one with uptight perfect fifth position arms. Arms are spread back like wings, twisted in angst and fear. Swans lean forward in lines of regret and surrender. The evil Von Rothbart’s extensions whip out in raging anger as he leaps through the air. Rather than a showcase of textbook technique which can be an end in itself, classical technique is used to further the purposes of the story. The corps of swans were a powerful entity, dancing not only with a remarkable unity but a single minded purpose, dancing with power and an overlay of sadness all communicated through body movements, from assured sweeping arms to eyes cast down. The effect is dramatic and deliciously intimidating in their sheer numbers and solidarity, more like a pack of wild birds than precious animals found in fairytales. The choreography of the pas de trois in the first act is restrained, but dancers Frances Chung, Hansuke Yamamoto (a last minute replacement for Vitor Luiz), and Nutnaree Pipit-Suksun danced with such style that it was hard to notice. Aided greatly by a clipping pace by the orchestra led by Martin West, Chung was delightfully spry with remarkably clear footwork, Pipit-Suksun infused her dancing with a warmth and grandeur in her long extensions, and Yamamoto soared in a winning combination of bravura and gentility in partnering the two ladies. Anthony Spaulding was a mix of fierce aggression and dauntless nobility as Von Rothbart, which made him an intimidating foe. In addition, Anita Paciotti was a strikingly fabulous Queen mother, with a magnetic stage presence dripping with royal airs merely parading around the stage. The dancers brought this classical ballet to life, carving out a cinematic journey that carries the audience through this timeless tragic fairytale.

The near-perfect cast was headed by Sarah Van Patten in the role of Odette/Odile. Her portrayal of the tragic heroine was one that unfolds slowly, sensuously, organically over time. There’s a sumptuous luxury in the way that her movements are unforced yet always growing, and we clearly see the development of her love story from start to finish. From a skittish fear with wide eyes, to growing still when Prince Siegfried catches her hand and looks into her eyes, to a growing trust of backward trust falls trusting him to catch her, to a tremulous foot beating betraying her beating heart. As she turns, she slows and hesitates as she sees her prince – it’s the very picture of a heart faltering. As Odile, Van Patten was all sleek lines glinting cruelly in the light, her confidence in the role visibly improved from last year. She soared in the role of seductress and looked like she was having fun doing it. There was something thrillingly dangerous about the way that she looked up at the audience slowly, fiendishly, deliberately, while dancing with her arms presented and spread wide. Her final pose was triumphant as the Prince is holding her hand, as she throws back her head in silent cruel laughter.

It’s interesting that in this version, I saw not just a love story between two people, but more of a picture of a woman falling in love despite its consequences. Weight is unfairly given to the role of Odette over Prince Siegfried in this romance. It’s a thankless role to be sure, and Prince Siegfried was danced by guest artist Vadim Solomakha. His natural acting ability helps with the angsty moments he had onstage, but in general, he lacked a princely posture when he stood or walked, as he played his part more like a jovial accessible leader who interacts with his people in the first act. In dancing with Odette, he almost disappeared next to Van Patten, and was otherwise unremarkable and technically tenuous in his jump landings and footwork.

In general, I was reminded of how timeless this ballet is, where deception is damning, and the choice to love is heartfelt. San Francisco Ballet’s Swan Lake is a stunning production that will continue to tell the classic tale to modern day audiences. This production rests on the abilities of the dancers to bring it to life, and with the cast that I saw, this can be a very good thing.

Other reviews:

• SF Chronicle
  
• SF Classical Voice
  
• NY Times
  

San Francisco Ballet’s Program 2 starts on February 9, including a world premiere with Christopher Wheeldon set to the music of recording artist Kip Winger.

Morphoses/The Wheeldon Company

When Christopher Wheeldon’s company Morphoses rolled into town for their first highly anticipated West Coast tour, I got to thinking about the music behind ballet. In its best scenarios, the music is everything – it is the basis for the movement choreographed to it. In other examples, the music disappears into the background – in Tudor’s Lilac Garden, I can’t remember the music or the composer of that piece for the life of me. I’ve also found that music can be the stumbling block for me to be able to enjoy certain pieces. The pieces set to undanceable pieces come to mind – such as Mark Morris’ Joyride set to the cacophanous music of John Adams. Wheeldon’s Continuum is another piece, and this piece opened the evening with Morphoses.

The momentum in Wheeldon’s Continuum is derived mostly from the sharply-cornered music by Gyorgy Ligeti. The most challenging piece of a very forward-thinking program, the angular choreography pieced together stark images of geometric angles, alternating flexed and pointed feet, insect-like images, and tension that always seem to result from movements in silence. (The audience seems to start breathing again once the music starts up again.) It’s colored by a bewildering sense of randomness to this piece. Momentum is built up between images from moment to moment, but its logic remains murky and elusive. However through movement, Wheeldon is able to point out the humanity and the dark humor in the music I never would have heard otherwise. Even in tension, an urgency and a driving energy challenges the audience to consider it, most of all. Gorgeous lighting by Natasha Katz (recredited by Mary Louise Geiger) offsets the clean angles and creates different worlds, from an austere world with black and bright white, or a warm glow of red.

The program also features choreography other than Wheeldon’s, which is an advantage in variety not only for its dancers but for the audience as well. Lightfoot Leon’s Softly As I Leave You featured a dramatic duet about loss between dancers Drew Jacoby and Rubinald Pronk. Even entrapped in a box, the dancers struggle with angry intensity, yet an atmosphere of surrender and sadness pervades. Lush earthiness is backed by Bach’s sensuous, drawn out phases, and Jacoby and Pronk dance with a mercurial power that’s breathtaking.

Ratmansky was also featured on the program, with Bolero. Six dancers wearing numbers on their leotards dance to the familiar strains of Ravel’s Bolero in movements that mirror the repetitive motif with imperceptible yet building climax. It starts slowly, with a solo and a background chorus of softly shifting shapes. More people join as the music builds. There is a sense of competition (perhaps because of the numbers on their leotards?) yet a nonchalance and a haughty disregard for each other. Yet it’s always changing, as partners switch and different groups dance with each other. Ratmansky’s choreography emphasizes the complex detail in the music, with offbeats that are given as much attention as the onbeats. The irrepressible shifting and pointed movement slowly casts its spell as does the music, which only broke when an accidental skirt came loose and had to be tossed to the back. It was only at this point when I realized how much I had been emotionally caught up in the piece. The piece soldiers on, skirt or not, with the piece coming to an impressive crashing close.

The evening ended with Wheeldon’s Rhapsody Fantaisie, which was my favorite for the night. Highlighted with searing red costumes by Francisco Costa, from beginning to end, the piece was all seamless fluidity, seething with power and life. The dancers were like watching animals in the wild – a harnessed invincibility, an expansive confidence to fly.

With Morphoses’ West Coast tour, California audiences were privileged to be exposed to a company with such a cutting-edge sensibility and an amazing repertoire. Yet it was hard not to notice the empty seats that appeared after each of the two intermissions. Perhaps Wheeldon is ahead of his time with audiences not used to change – at the post performance Q&A, a woman admitted she had never seen such sensuality onstage before. I have to remember that this sort of dance is still new to a lot of people. Or perhaps he’s still trying to find a convincing voice with his lofty vision to challenge audiences as well as seek their favor and support. This favor is made more difficult by music like Ligeti’s. Yet Wheeldon is not afraid to take that risk, and everyone benefits as he searches for beauty, even in difficult places.

An adorable Christopher Wheeldon at the post-performance Q&A.

San Francisco Ballet in Tomasson's Le Quattro Stagioni. © Erik Tomasson. It must be a fun photography game to try to catch Taras Domitro in the perfect 180 degree splits.

Every opening night gala is a celebration in itself, but especially recently, San Francisco Ballet has had much to celebrate. With the festivities of the landmark 75th anniversary still echoing in my ears, this year’s celebration was one with a more personal touch – artistic director Helgi Tomasson’s 25th year anniversary with the company. In an opening night program that highlighted choreographers whose work have been staples in shaping the company’s repertoire, the gala was not only a showcase for the company’s astounding versatility but also the vision of Tomasson and his extraordinary accomplishments as its artistic director. With pieces from Balanchine, Morris, Wheeldon, Robbins, and Tomasson himself, you see that Tomasson had an eye for innovative choreographers that think a little bit outside the box and push the envelope. (A choreographer missing from the opening night lineup was choreographer-in-residence Yuri Possohkov whose presence was missed.) San Francisco audiences have been privileged to benefit from his vision for innovation and style.

This opening night gala was not only a showcase for Tomasson’s leadership in bringing the company to the forefront of the international ballet scene, but his choreography as well. A majority of the evening were choreographed by Tomasson himself, and it was interesting to see a broad range of his choreography in one sitting. His eye for innovation that makes him a good artistic director is present everywhere – Tomasson favors class and elegance in his lines, no better exemplified in his pas de deux from 7 For Eight. Backed by Johann Sebastian Bach’s music, Nutnaree Pipt-Suksun and Pierre-Francois Vilanoba, elegantly clothed in black, personify the restrained yearnings of Bach’s music by being boxed in by a square spotlight, and dancing within its realm with outstretched arabesques and coolly controlled promenades. There are also occasional indulgences in unabashed romance in Tomasson’s choreography, like dips into a well of guilty pleasure. Passion simmers underneath a layer of decorum, such as in the pas de deux from The Fifth Season, multiplied by the wholehearted trust only seen in the assured partnership between the thrillingly seamless Yuan Yuan Tan and Damian Smith. More than once in different works, a woman is cradled into a man’s arms and carried off stage. A woman’s cheek rests gently on a brawny arm. Tomasson’s world is a world where the men are chivalrous like knights on white horses, jumping with power and always debonair. In Tomasson’s “Winter” from Le Quattro Stagioni, an overflowing of stage full of strapping men embodying strength and virtue, led by the dynamic Taras Domitro. The stage seemed too small to contain this tour de force.

Yuan Yuan Tan in Tomasson's Chi-Lin. © Erik Tomasson

Still, even in the opening night program, Tomasson’s abilities fall short as a champion choreographer. It’s unclear if Tomasson is the master constructionist with a view for the bigger picture while making the journey interesting. Watching his works, I get the feeling that he choreographs in blocks. He seems to be getting somewhere within the span of a few minutes, but it ends soon; transitions are abrupt and not always logical nor easy to follow. This blocked style is especially evident in contrast to Balanchine’s “The Man I Love” from Who Cares?. In a falling-in-love-in-a-Carousel-sort-of-way duet between Sarah Van Patten and Pierre-Francois Vilanoba, there is even a poetic story in the placement of the two lovers, both in space and in relation to each other. In their spacing alone, both close and far, in different hand holds and lifts, there is both uncertainty and certainty in falling in love, an ebb and flow that resolves with a satisfying close. There are revelations around every corner, small and big. In contrast, Tomasson’s Balcony pas de deux from Romeo and Juliet, also a story of falling in love, the overall construction lacks an overarching line in the plot – no slow yet growing buildup to a climax or natural die down punctuated by a first kiss. It’s phrasing built into the construction of the piece, the same as in music as in dance. The result are sudden changes in fast and slow in a ride that feels more random and uneven. Perhaps there’s a metaphor for first love in there somewhere?

As in music, there is room for performers to inject their own artistry. The dancers who excel at Tomasson choreography are the performers who carry and follow through the movements, adding momentum. Yuan Yuan Tan and Damian Smith seamlessly converge in a whirlwind of trust as she falls freely in Smith’s sure arms in The Fifth Season. Tan is a free bird in the “Flute Moon” from Tomasson’s Chi-Lin, angular and showy. Davit Karapetyan powers through space with power and grace, noble yet stirring in Tomasson’s Chaconne for Piano and Two Dancers with incredible stage presence. Maria Kochetkova is a thrilled young girl in love as Juliet as she flits across the stage with Joan Boada as her ardent lover.

Maria Kochetkova and Joan Boada in Tomasson's Romeo & Juliet. © Erik Tomasson

In some of the pieces, this blocked style is used to its advantage. In Tomasson’s Concerto Grosso, which may as well be his finest piece yet, utilizes this style by presenting the work set in a classroom feel. Five men in solid colored unitards repeat high flying steps, steps tinted with lyricism and authority, on both left and right sides as is normal in a ballet class. There is a repetitiveness reminiscent of basic training exercises. The men push themselves higher and faster, as well as competitively yet congenially with others. This display of virtuosity is a thrilling showcase for dancers as beautiful as the lyrical Diego Cruz, James Sofranko, Garen Scribner who holds gentility in his finishes, Hansuke Yamamoto, led by Pascal Molat. Molat bursts off the stage with his energy yet his footwork is precise, and he seems to fly. In other pieces however, choreography falls flat. The pas de six from Tomasson’s Sleeping Beauty felt harried, with each variation feeling truncated and too brief; the shaky footwork and lack of unity amongst the dancers didn’t help either. It was disappointing that the pas de deux from Tomasson’s Tuning Game went nowhere in spite of its sharp inflections, especially since it was an introduction for newly hired principal Vitor Luiz (dancing with Lorena Feijoo) to San Francisco audiences. It wasn’t the proper showcase for both dancers, and we’ll have to wait until the season to see what he can do.

The company truly soars in choreography such as Morris and Balanchine that the company seemed created to dance. The “Typewriter” from Mark Morris’ Sandpaper Ballet is quirky, lightning fast, and entertaining, and Robbins’ “The Mistake Waltz” from The Concert is earnest and heartwarming that reminds me, a bit painfully, of my ballet classes where someone (like me) goes in the wrong direction or gets offbeat from the music without quite knowing why. It’s easy to write these pieces off as mere froth, yet these pieces require a transparent sincerity without overdoing it. San Francisco Ballet excels at striking the perfect balance. Balanchine’s Agon with Sofiane Sylve and Anthony Spaulding is both severe and stunning. Gennadi Nedvigin in “Bugle Boy” from Paul Taylor’s Company B is a finger snappin’ carefree spirit with loose, swinging shoulders. Katita Waldo and Damian Smith work through the angular complexity of Christopher Wheeldon’s pas de deux from Rush, unraveling movements through time and space. Stylistically, this company has become an expert in these choreographers. Yet this company isn’t one that evolved this way, but it’s a company that represents a vision of its artistic director, Helgi Tomasson. And for that, San Francisco audiences are thankful. It’s going to be a great season this year.

San Francisco Ballet website. Program 1, Tomasson’s Swan Lake, starts tonight.

Nutnaree Pipit-Suksun and Anthony Spaulding in Tomasson's Nutcracker. © Erik Tomasson

It’s that time of the year again – Christmas jewelry commercials are starting to creep up on TV, and people are searching and finding my blog through Google searches such as “nutcracker san francisco ballet” in increasing numbers. (Can you believe we’re already halfway through November??)

Here’s a non-comprehensive list of holiday dance offerings in San Francisco and the Bay Area. There’s a dusting of smaller ballet companies doing the Nutcracker – Ballet San Jose and Oakland Ballet, for example but I haven’t seen these so I can’t vouch for them. But here are the ones that are on my radar this year:

• San Francisco Ballet’s Nutcracker. This glittering, sumptuous, nostalgic confection is one of the best the West Coast has to offer. It doesn’t seem proper to start the holidays without it. I grew up with this production, when my family used to drive to SF to see it. I have childhood memories of getting dressed up in holiday party dresses and sitting excitedly in box seats, waiting for the production to start. Performances start on December 11. Click here for my 2007 and 2008 reviews. Buy the DVD of a live performance by SF Ballet on Amazon.com, narrated by Kristi Yamaguchi.
• Smuin Ballet’s Christmas Ballet. I haven’t seen this yet, but it’s a holiday show that’s guaranteed to be as sexy and showy as the company that’s dancing it. It’s the spiced up and heavily spiked egg nog variety of your normal holiday beverage. It’s a collage of dances choreographed by Amy Seiwert, Robert Sund and more, celebrating Christmas in the non-traditional, non-Tchaikovsky sort of way. I’m sure it’ll be family friendly, although the marketing seems to be targeted more for adults. It seems like a perfect holiday date, or the audience member new to ballet or dance who wants to celebrate the holidays in style. Performances start on November 27 in Walnut Creek, and the show moves on to Carmel, Mountain View, and San Francisco.
• Mark Morris’ The Hard Nut. Advertised as the “Nutcracker with a twist”, it’s the Nutcracker story as viewed through the fun, crazy, touching, slightly disturbed yet brilliant eyes of Mark Morris. This truly is the production that everyone will enjoy, from dance fanatics to kids who were reportedly rapt with attention during the entire production. I’m hoping to finally see this production live this year, after seeing it only on DVD. It’s worth it just to see that snow scene. Love! And any guesses if Mark Morris himself will be onstage to play the drunk, inappropriate uncle again? Surprisingly, a lot of tickets are still available. I’ve noticed that more rush tickets have been more available for their other performances this year with more empty seats, but this show usually sells out fast. Performances start on December 11.
• Sacramento Ballet’s Nutcracker. Ok so technically not Bay Area, but this is a company that was hit last year with financial struggles with doubts of whether or not it would stay open. Sacramento Ballet seemed to be representative of the struggles of many smaller arts organizations, and it’s inspiring to see them continue on. This year, they bring in TV’s Melissa Sandvig from So You Think You Can Dance to dance the Sugar Plum Fairy for select performances. Opening night is on December 11.
• For the non dance fans, other things that are going on in the Bay Area – ACT’s A Christmas Carol or the non traditional Berkeley Repertory Theatre’s Aurélia’s Oratorio if you’re in the mood for a play, and SF Symphony has a slew of things going on for the holidays for Christmas and the New Year.

Aurélia’s Oratorio at the Berkeley Repertory Theatre. Photographer:
Richard Haughton

For all of these offerings, there seems to be a lot of family discounts and special events going on. Be sure to call the box office for more information.

What are you going to see this year?

Jonathan Roberts and Macy Gray in ABC's "Dancing with the Stars"

Come on, ABC producers, throw Jonathan Roberts a bone.

I haven’t watched it of late, but Jonathan Roberts first caught my eye during the first season of ABC’s Dancing with the Stars. It was his elegant carriage and a classy presence that probably did it, although his tall, dark and handsome looks didn’t hurt either. I know to the ballroom world he isn’t ranked the best in the world, yet I’ve always liked watching him. And he continues to get kicked off early in the show. Isn’t it time for him to get paired with a young hottie, just once? I recommend Taylor Swift, or wouldn’t Britney Spears be cool?

With Macy Gray, I couldn’t think of a pair that was more mismatched or more opposite. Yet they still made an admirable effort that was refreshing to watch, capitalizing on her strengths and sassiness that have long made her popular through her songs. Judge Carrie Ann Inaba said astutely, “It was beautiful in it’s own bizarre way.” Not classic ballroom, mind you, but with her proportions (towering above Roberts in her low heels) and personality, it was impossible to be. It was a great message that anyone can dance. And now, she’s gone.

This was the first time I’d seen the show in a long time, probably since the second season or so, and I was a bit appalled at the number of promotional ads that run DURING the show. A rapper singing a song whose album is dropping the next day, and pulling in stars from ABC sitcoms to sit in the audience? I wonder how many teeth they had to pull to get them to sit there.

I probably won’t continue to watch. Is anyone still watching it? Any thoughts on how the show has evolved over the past few seasons?

It was my blog’s second birthday yesterday! I wanted to take this chance to send out a big THANK YOU to everyone who’s been reading and engaging in fascinating discussion. I’m so grateful that my blog has survived strong for two years with people continuing to read regularly. I know my blog hasn’t gotten that much love lately (grad school’s not been so fun these days) but there are more exciting things coming up. So go out there and enjoy an evening at the theater and talk about it!

My last night at the theater was Mark Morris’ L’Allegro in Berkeley a few weekends ago with the Mark Morris Dance Group. Morris combines the rarely seen combination of classy Handel music with irreverent, earthy yet ethereal modern dance. Still peppered with Morris’ irreverent genius and wit, I didn’t find it to be my favorite Morris masterpiece. There were sections taken literally from the lyrics and one too many stagnant moments to hold my attention throughout. But that movement where the men vacillate between violent face slapping and dainty hand holding and quirky tooshie-slapping, ingeniously set to the music, was one of the liveliest things I’d ever seen on stage. It was a movement that encapsulated Morris’ humor, intelligence, outside-the-box thinking, and pitch-perfect musicality, all in one, and it was a much needed shot of adrenaline to the concert viewing experience. And as much as I hate to admit it, that’s the one movement that will stay with me the longest about this piece.

What’s the last concert you saw?

There’s an unlikely addition to the star-studded lineup for the Oregon Ballet Theatre’s spectacular Dance United concert tonight. In addition to the well-known New York City Ballet, San Francisco Ballet, Joffrey Ballet, and the National Ballet of Canada, there is the Boris and Natasha Dance Troupe (under Linda Austin Dance), a group made up of five non-dancer modern dancers. One member, Peter Ames Carlin (a journalist when he’s not a modern dancer), writes hilariously about taking class with the best dancers in the world who move in ways “that God himself might not have imagined humans being capable of performing”. He calls their group, “A breath of weird air. The high art version of rodeo clowns.” Click here for his article.

Now all they need is a guy who can do the splits.

Dance United for Oregon Ballet Theatre.

In this economy, recession is hitting the arts hard. Oregon Ballet Theatre has issued a national call for help, with the entire dance community pitching in. With the threat of closing down if funds aren’t raised, they are putting on DANCE UNITED, a benefit performance to raise enough funds that will allow them to stay open if they reach their goal by the end of this month. Keep track of their fundraising progress, here.

Dancers from all over North America are flying in to dance in a special one-night-only benefit performance, including San Francisco Ballet’s own Sarah Van Patten and Damian Smith in Christopher Wheeldon’s mesmerizing After the Rain pas de deux. Other companies flying in to help include New York City Ballet (Megan Fairchild and Daniel Ulbricht in Balanchine’s Tarantella), Joffrey Ballet, Pacific Northwest Ballet, Boston Ballet, National Ballet of Canada, Oregon Ballet Theatre, and lots more. It’s going be a star-studded night and one heck of a performance. The performance is on June 12 at 7:30 PM. Click here for tickets.

I get the sense that OBT’s struggles represent a much larger fear in the arts community of the very near future, and the fear is palpable with no certainty at how large the impact is going to be.

OBT is hardly the only company to be struggling. Sacramento Ballet has been struggling since last year where mid-season, the company was forced to close down for the rest of the season. The dancers themselves have picked up on a grassroots campaign called “Save Our Sacramento Ballet” to raise enough funds for the company. They’ve smartly partnered with neighborhood business, from everything to ice cream shops to performing as living sculptures in art galleries to a benefit performance at the Mondavi Center, to collaborate in a huge fundraising effort to keep their company open. Their fundraising efforts seemed to have paid off at least partially – the current status of the company is that they will be performing the “Nutcracker” and other programs at their normal venue at the Community Center next year, with performances at other venues. They will also continue their popular in-studio “Ballet and Beer” programs as well.

The great thing is to see support from fellow dance companies all over the continent pitch in to help – the message seems to hit close to home in the tightly knit dance community. The immediate impact are the artists themselves who lose jobs which is dire in itself, and additionally the long term effect will be on whole communities and future generations growing up without arts education and experience. Today, it’s Portland and Sacramento – tomorrow, what will it be? San Francisco, New York, Chicago?

Click here to donate to the Oregon Ballet Theatre. Click here to support Sacramento Ballet.

Check out a video of the efforts that the Sacramento Ballet dancers have been doing in the community to keep their company alive.

When the bigger dance companies close for the season – all the Bay area dance companies seemed to close within weeks of each other – I find the summer to be a great time to explore smaller, local companies. I just came back from a nice evening at the Northern California Dance Conservatory. Titled “Mergence 2009″, it was marketed as an evening of art inspiring art – a night of original choreography as well as fine art inspired by said choreography. Hosted by the conservatory as well as JointheArts.com, a cultural arts advocate organization that aims to bridge the arts together, it was an evening of food, wine and art with a local emphasis. The reception before the performance was a lively, classy event that set the celebratory mood.

The performance part of the evening was a diverse program of eight modern dance pieces ranging from the silly to the sublime. The only recognizable choreographer on the program was Bay area’s Tina Kay Bohnstedt from Diablo Ballet. Her “Being Individual” set to the music of Philip Glass’s Concerto for Violin and Orchestra was an exercise in shifting geometric shapes and group interactions backed by the pulsating music, with two group dances flanking a gentle central pas de deux. Intellectually engaging and a strong start to the evening, there was tension in vacillating between an air of caution and complete freedom that was difficult to tell if this was intentional or not. Choreographer and artistic director Jen Bradford’s “Writing on the Body of a Queen”, backed by the music of Gary Pozner, Dustin O’Halloran, L’Arpeggiata and Christina Pluhar, started out as a fun romp with an ease that flowed effortlessly. The central pas de deux fluctuated softly and quickly between surrender (a trust fall) and control (a man’s hand at the woman’s throat) like the fluttering of an eyelash, and in its twists and turns, the effect was captivating and absorbing and my favorite moment of the evening.

In moments, the evening can’t resist straying into the arena of cliche, reminiscent of ballet school recitals I grew up with. I found the most successful pieces to be the ones that embodied simplicity and showcased the dancers, rather than the pieces that aimed to teach the audience something or tried to be too ambitious. The dancers moved with incredible fluidity. Their technique may not equal professional companies, but it’s a rare quality to find a group of people that can simply move.

Original choreography is risky and commendable, and I’m so impressed that local companies are putting originality at a premium even in this economy. The effect is well worth it.

More performances are scheduled for this weekend. Click here for more information.