Geri Jeter

44 posts
Former dancer, Geri Jeter, has been editing and writing for over fifteen years, writing on dance, food, music, NASCAR, technical theater, and Italian-American culture. For the past five years, she was the dance critic for the Las Vegas Weekly; in 2007 Nevada Ballet Theatre presented her with the Above and Beyond award. Now living in San Francisco, Geri is excited about covering the entire scope of West Coast dance. You can read more of her dance writing at her blog Dance Blitz ( and follow her Las Vegas and San Francisco restaurant reviews at DishKebab (

Oh, Those Crazy Modern Victorians: Or What the Heck Is Steampunk?

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While there is a sense of pride in having created something so wonderful, there is also a fear that it all might be tarnished or even taken away by the corporate entities that run the film industry, television networks, and fashion.

ballet computer

Diablo Ballet Crowdsources Ideas for a New Ballet

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“My biggest surprise, though, has been the level of creativity. People are really thinking out of the box, and we love it! For example, suggestions range from setting the ballet in an antique store to one based on the evolution of the Dodo Bird! It’s great how people are embracing that we have no limits.”

Head shot: Sean Kelly

7 Questions with Choreographer Sean Kelly

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When I first started dancing, I studied at a studio in Marin that taught all styles of dance like jazz, modern, Latin American, and ballroom, along with some ballet. It was later, when I went to Marin Ballet, that I began to focus primarily on classical dance. I do think that the variety of my early training helped me be open to different styles and techniques. I also think that the diverse contemporary repertoire I had the pleasure to dance while at Houston Ballet and other classical companies helped me to be a versatile dancer.

Still Photo: Dracula, Peninsula Ballet Theatre

9 Questions with Artistic Director and Choreographer Bruce Steivel

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Being an Artistic Director of two companies an ocean apart is certainly an interesting assignment. I plan to incorporate the dancers from both countries into several productions. I already have brought one male dancer from San Mateo to perform with the company in Belgrade and intend to bring three dancers from Belgrade to San Mateo to perform this season. It will be an interesting cultural exchange and benefit both the dancers and the companies.

Headshot: Adam Hougland

9 Questions with Choreographer Adam Hougland

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Smuin Ballet, as part of its opening program for the 2012–2013 season, is presenting the West Coast premiere of Cold Virtues by the exciting young choreographer Adam Hougland. Popular with audience and critics alike, the work is set to Philip Glass’s haunting Violin Concerto and features fourteen dancers, whirling and leaping against a mesmerizing backdrop of spinning fans. The Louisville Courier-Journal described the ballet as “beautifully bleak, honest in unflinching fashion.”

How Social Media Has Energized Small Arts Organizations — An Interview with Diablo Ballet’s Dan Meagher

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For small companies like Diablo Ballet, social media has come into the forefront as a cost-effective vehicle to get audiences involved in the arts in a new and interactive way. In the past, marketing personnel for arts organizations had to navigate the expensive ad formats in print, television, and radio to get their message out. Often, local media would donate print space or airtime as part of their public service commitments, but this tended to be an unpredictable delivery method, dependent on too many variables, including space availability and the personal commitment of individual station managers.

8 Questions with Dancer/Choreographer David Van Ligon

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It was very exciting to get to showcase one of my works for Company C, and I really enjoyed watching the piece come together. It was just thrilling to watch — from the videotape of me doing the initial steps, then to have the dancers understand my vision and afterward execute it.

8 Questions with Choreographer/Dancer Robert Dekkers

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In addition to my work with Post:Ballet, I am currently dancing with Diablo Ballet, where I have the opportunity to perform in a variety of exciting and challenging works, from George Balanchine’s technically demanding Tarantella to KT Nelson’s free-flowing The Escaping Game.

Five Questions with Oregon Ballet Theatre Artistic Director Christopher Stowell

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We have created a lean, but very powerful group of artists with an incredible work ethic and drive and a hunger for giving their all on stage. We also have a sophisticated and eclectic repertoire that our audiences eat up.

5 Questions with Choreographer Val Caniparoli (Part 2)

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It’s always good to try and schedule time when the company is performing, as you get a better sense of individual dancers and how they perform onstage. You can’t always know if and how a dancer transforms onstage as opposed to how they work in the rehearsal studio.

San Francisco Ballet Offers Raymonda Act III, RAkU and Guide to Strange Places

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In a season peppered with contemporary world premieres and dramatic works, it is easy to forget that San Francisco Ballet is first and foremost a classically trained ballet company. With Program 6 and Raymonda Act III, the company re-stakes its claim as a classical company to be reckoned with.

7 Questions with San Francisco Favorite Joanna Berman

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Today, because of her experience in such an extensive repertory, Berman is in demand as a regisseur, assisting choreographers in bringing their existing ballets to new audiences. This past month, she has been working with Walnut Creek’s Diablo Ballet, setting Christopher Wheeldon’s Mercurial Manoeuvres, which is part of the Inside the Dancer’s Studio program to be presented Friday and Saturday, March 2 and 3.

San Francisco Ballet: It’s in the Programming

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The world premiere of Mark Morris’s Beaux, set to Martinu’s Concerto for Harpsichord (1935), is a gentle work created for the company men. In contrast to the usual bravura leaps and beats normally used to showcase talented male dancers, Beaux explores different territory. In a Peter-Pan-and-the-Lost-Boys manner, Morris has the men create a visual picture of the hidden, light-hearted youth inside, and the sunny, patterned costumes and backdrop by designer Isaac Mizrahi underpin Morris’s intent. The dancers were equally matched, equally wonderful.

San Francisco Ballet’s Dazzling Onegin Opens the 2012 Season

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From the luscious Santo Loquasto sets and costumes, to the Tchaikovsky musical pastiche, and the brilliant dancing by the principals and the corps — it works. There is no question about it, no waiting to see how it all gels. San Francisco Ballet has a resounding hit on its hands.

Smuin Ballet Swims in the Blue Ocean of Holiday Fun

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The ballet consists of two parts. The first half, “The Classical Christmas,” is devoted to traditional ballet with classical Christmas music, including liturgical works. In the second half, “The Cool Christmas,” pointe shoes are out, stilettos and tap shoes are in, and the music shifts from Leonard Bernstein and the New York Philharmonic to Lou Rawls, Eartha Kitt, and Leon Redbone.

In “The Classical Christmas,” the big standout for me this year was the simplest. There is something timeless and charming about the minimalist line dance by the company women to “Veni, Veni, Emmanuel.” It reminds us that dance does not always need to be tricky and complicated to be wonderful. Oh, there were masses of tricky solos and partner work, to be sure, but the sheer loveliness of this dance will linger in memory far longer than fancy footwork.