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> <channel><title>California Literary Review &#187; Performing Arts</title> <atom:link href="http://calitreview.com/category/performing-arts/feed" rel="self" type="application/rss+xml" /><link>http://calitreview.com</link> <description>An arts and culture magazine.</description> <lastBuildDate>Sat, 11 Feb 2012 22:12:32 +0000</lastBuildDate> <language>en</language> <sy:updatePeriod>hourly</sy:updatePeriod> <sy:updateFrequency>1</sy:updateFrequency> <generator>http://wordpress.org/?v=3.3.1</generator> <item><title>San Francisco Ballet&#8217;s Dazzling Onegin Opens the 2012 Season</title><link>http://calitreview.com/23558</link> <comments>http://calitreview.com/23558#comments</comments> <pubDate>Wed, 01 Feb 2012 16:00:29 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[John Cranko]]></category> <category><![CDATA[Onegin]]></category> <category><![CDATA[San Francisco Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=23558</guid> <description><![CDATA[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.]]></description> <wfw:commentRss>http://calitreview.com/23558/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>San Francisco Ballet&#8217;s 2012 Gala Performance</title><link>http://calitreview.com/23295</link> <comments>http://calitreview.com/23295#comments</comments> <pubDate>Mon, 23 Jan 2012 16:25:33 +0000</pubDate> <dc:creator>K. W. Jeter</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[San Francisco Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=23295</guid> <description><![CDATA[A gala performance such as this, kicking off San Francisco Ballet’s 2012 season, is inevitably programmed with virtuoso showpieces, designed to show off the extraordinary capabilities of what is undoubtedly a world-class company and arguably the finest dance organization in the U.S.]]></description> <wfw:commentRss>http://calitreview.com/23295/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>Broadway Review: Alicia Keys&#8217; Stick Fly</title><link>http://calitreview.com/22216</link> <comments>http://calitreview.com/22216#comments</comments> <pubDate>Fri, 16 Dec 2011 03:52:25 +0000</pubDate> <dc:creator>Ethan Kanfer</dc:creator> <category><![CDATA[African American]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[theater drama]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=22216</guid> <description><![CDATA[This setup abounds with comic potential, and Diamond wrings plenty of laughs out of the awkward dynamics at hand. But there is much more here than just the usual dysfunction junction drollery. The youths, especially Taylor, have a lot to say about the way the world looks now, and much of their criticism is justified.]]></description> <wfw:commentRss>http://calitreview.com/22216/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>San Francisco Ballet&#8217;s Nutcracker Continues the Tradition</title><link>http://calitreview.com/22407</link> <comments>http://calitreview.com/22407#comments</comments> <pubDate>Thu, 15 Dec 2011 03:07:42 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Maria Kochetkova]]></category> <category><![CDATA[Nutcracker]]></category> <category><![CDATA[San Francisco Ballet]]></category> <category><![CDATA[Val Canipar]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=22407</guid> <description><![CDATA[OK. I’ll admit it. I’m a total sap for Nutcracker. You’d think after all the years of attending and appearing in performances, working backstage, and covering numerous productions for various media outlets that I would have become more than a bit bored with the whole thing. Nope. Not a bit. Some productions I like more than others, but basically, I’m a fan.
And San Francisco Ballet, the company that presented the first full-length U. S. Nutcracker, still offers one of the best. From the moment the house doors open, the audience becomes a part of one of San Francisco’s oldest and best-loved holiday parties. Garlands, Christmas trees, and Nutcracker dolls at the boutique welcome the guests decked out in their holiday party best. The lobby is buzzy as children and adults alike eagerly anticipate the performance.]]></description> <wfw:commentRss>http://calitreview.com/22407/feed</wfw:commentRss> <slash:comments>2</slash:comments> </item> <item><title>Broadway Review: Private Lives</title><link>http://calitreview.com/21884</link> <comments>http://calitreview.com/21884#comments</comments> <pubDate>Wed, 23 Nov 2011 20:56:22 +0000</pubDate> <dc:creator>Ethan Kanfer</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[Kim Cattrall]]></category> <category><![CDATA[Paul Gross]]></category> <category><![CDATA[theater comedy]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=21884</guid> <description><![CDATA[Luckily, any such anti-Tinseltown prejudices are quickly dispelled within the first few minutes of <em>Private Lives</em>. Cattrall and Gross, who both sport impressive theatrical résumés in addition to their IMDB credits, are perfectly at home with Coward’s pacing, elegance and theatricality. At the same time, they wisely steer clear of old school stiffness or stock deliveries of the play’s well known zingers.]]></description> <wfw:commentRss>http://calitreview.com/21884/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Broadway Review: Venus in Fur</title><link>http://calitreview.com/21678</link> <comments>http://calitreview.com/21678#comments</comments> <pubDate>Sat, 19 Nov 2011 02:40:41 +0000</pubDate> <dc:creator>Ethan Kanfer</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[theater drama]]></category> <category><![CDATA[Venus in Fur]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=21678</guid> <description><![CDATA[Anyone who has been through the process will recognize the exasperation, drive and excitement of Dancy’s eerily accurate portrayal of a playwright birthing a new piece (although few of us look as good doing it). He is an apt foil for Arianda, who navigates the hairpin turns of the story with ferocious speed and stunning comic imagination.]]></description> <wfw:commentRss>http://calitreview.com/21678/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Theater Review: Godspell on Broadway</title><link>http://calitreview.com/21585</link> <comments>http://calitreview.com/21585#comments</comments> <pubDate>Wed, 16 Nov 2011 14:16:49 +0000</pubDate> <dc:creator>Ethan Kanfer</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[Godspell]]></category> <category><![CDATA[theater musical]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=21585</guid> <description><![CDATA[Most haunting of all is the ballad <em>Beautiful City</em>, in which Christ speaks not of a kingdom of heaven awaiting us after death, but of faith in the possibility of a better world here on earth. The pained relationship between Jesus and Judas Iscariot is played with moving delicacy by Parrish and Smith. The crucifixion scene, which could easily have been cringeworthy, is instead cathartic and powerful, thanks in part to the way David Weiner lights its Rembrandt-like tableau.]]></description> <wfw:commentRss>http://calitreview.com/21585/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Theater Review: Chinglish</title><link>http://calitreview.com/21406</link> <comments>http://calitreview.com/21406#comments</comments> <pubDate>Mon, 07 Nov 2011 14:00:25 +0000</pubDate> <dc:creator>Andi Stover</dc:creator> <category><![CDATA[China]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[Chinglish]]></category> <category><![CDATA[theater comedy]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=21406</guid> <description><![CDATA[Only whipsmart playwright David Henry Hwang could have written <em>Chinglish</em>, the new biting comedy of manners that depicts the gulf between Chinese and American cultures through the misadventures of language in translation.]]></description> <wfw:commentRss>http://calitreview.com/21406/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Music Review: New York Philharmonic, “John Williams: A Night at the Movies”</title><link>http://calitreview.com/21344</link> <comments>http://calitreview.com/21344#comments</comments> <pubDate>Sat, 05 Nov 2011 16:32:25 +0000</pubDate> <dc:creator>Lucy Butcher</dc:creator> <category><![CDATA[Movies]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[classical music]]></category> <category><![CDATA[New York Philharmonic]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=21344</guid> <description><![CDATA[Judging by the audience’s response, the final item listed on the program was what many had come for: Williams’s title theme from <em>Star Wars</em>, one of the most well-known compositions in the modern music repertoire. There were a couple of encores, including the theme from <em>Indiana Jones</em> and the “Imperial March,” or Darth Vadar’s theme, from <em>Star Wars</em>, which drew cheers from fans and a standing ovation.]]></description> <wfw:commentRss>http://calitreview.com/21344/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Theater Review: Relatively Speaking</title><link>http://calitreview.com/21058</link> <comments>http://calitreview.com/21058#comments</comments> <pubDate>Fri, 21 Oct 2011 02:45:01 +0000</pubDate> <dc:creator>Ethan Kanfer</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[theater comedy]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=21058</guid> <description><![CDATA[In Woody Allen’s <em>Honeymoon Motel</em>, young bride Nina Roth (Ari Graynor) enters a gaudy roadside inn with not-so-young novelist Jerry Spector (Steve Guttenberg). They’re excited to get away from all the wedding hoopla and take pleasure in simple joys like pizza and tacky furniture. Obviously, this is no typical pair of newlyweds. In fact, as it is soon revealed, they aren’t a couple at all. Nina was betrothed to Jerry’s stepson, but has run off with Jerry in an impulsive moment.]]></description> <wfw:commentRss>http://calitreview.com/21058/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Music Review: New York Philharmonic, “Alan Gilbert Conducts Bach, Berg, and Brahms”</title><link>http://calitreview.com/20869</link> <comments>http://calitreview.com/20869#comments</comments> <pubDate>Mon, 17 Oct 2011 15:20:51 +0000</pubDate> <dc:creator>Lucy Butcher</dc:creator> <category><![CDATA[Music]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[classical music]]></category> <category><![CDATA[New York Philharmonic]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=20869</guid> <description><![CDATA[Taking the second violin part, Gilbert, who has previously played in the Philharmonic’s chamber music concerts, proved himself to be as much an accomplished instrumentalist as a conductor, though he quipped, in a video interview published on the Philharmonic’s Website, “I certainly don’t intend to try to take the city by storm as a violinist.”]]></description> <wfw:commentRss>http://calitreview.com/20869/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance Review: NYCB, Works by Jerome Robbins</title><link>http://calitreview.com/20566</link> <comments>http://calitreview.com/20566#comments</comments> <pubDate>Wed, 05 Oct 2011 14:20:54 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Jerome Robbins]]></category> <category><![CDATA[NYCB]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=20566</guid> <description><![CDATA[Lauren Lovette, in particular, is fascinating to watch in this piece: she almost passively lets the music and choreography move through her body, and yet imbues all of her movements with quiet conviction. With her light touch, she makes even the most artificially passionate steps – as when she collapses at the waist and her fingers thread down her face as if weeping – seem natural.]]></description> <wfw:commentRss>http://calitreview.com/20566/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance Review: NYCB, Paul McCartney&#8217;s Ocean&#8217;s Kingdom</title><link>http://calitreview.com/20479</link> <comments>http://calitreview.com/20479#comments</comments> <pubDate>Sat, 01 Oct 2011 15:35:44 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[NYCB]]></category> <category><![CDATA[Ocean's Kingdom]]></category> <category><![CDATA[Paul McCartney]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=20479</guid> <description><![CDATA[But as <em>Ocean's Kingdom</em> joins a growing pile of choreographic train wrecks (a drab revival of <em>Seven Deadly Sins</em> and the vapid <em>For the Love of Duke</em> were last years' attempts to bring in new audiences), it seems NYCB is more concerned with ticket sales than artistic integrity.  There are certainly many composers and choreographers, young and established, who are doing exciting work, and looking for work.  Why not give them, and the audience, a chance?]]></description> <wfw:commentRss>http://calitreview.com/20479/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>Dance Review: New York City Ballet, &#8216;Balanchine Black &amp; White&#8217;</title><link>http://calitreview.com/20242</link> <comments>http://calitreview.com/20242#comments</comments> <pubDate>Tue, 27 Sep 2011 17:21:52 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[George Balanchine]]></category> <category><![CDATA[NYCB]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=20242</guid> <description><![CDATA[Though the hype surrounding the New York City Ballet's fall season has lately concerned a new ballet composed by a certain former Beatle, the company has continually impressed with its performances of repertoire by its founding choreographers.  On Tuesday, a program of three early Balanchine works – the ballets presented were all choreographed before 1960 – showed just how modern his ballets seem half a century later.]]></description> <wfw:commentRss>http://calitreview.com/20242/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Theater Review: Follies, Starring Bernadette Peters</title><link>http://calitreview.com/19945</link> <comments>http://calitreview.com/19945#comments</comments> <pubDate>Wed, 14 Sep 2011 12:46:55 +0000</pubDate> <dc:creator>Andi Stover</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Bernadette Peters]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[theater musical]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=19945</guid> <description><![CDATA[For Stephen Sondheim's 1971 <em>Follies</em>, however, the Broadway revival creates the perfect situation to reflect on the musical's themes of regret, nostalgia, and getting older. With a book by James Goldman and music and lyrics by Sondheim, song and story intertwine to reveal that a show-stopping musical number is the only way these characters can express who they really are.]]></description> <wfw:commentRss>http://calitreview.com/19945/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>San Francisco Opera: Heart of a Soldier</title><link>http://calitreview.com/19971</link> <comments>http://calitreview.com/19971#comments</comments> <pubDate>Tue, 13 Sep 2011 18:52:12 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Music]]></category> <category><![CDATA[Opera]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Heart of a Soldier]]></category> <category><![CDATA[San Francisco Opera]]></category> <category><![CDATA[World Trade Center]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=19971</guid> <description><![CDATA[For its world premiere of <em>Heart of a Soldier</em> at San Francisco Opera, the creators chose to concentrate on the personal story of Morgan Stanley's security head Rick Rescorla, whose actions led over 2,700 World Trade Center South Tower workers to safety, only to lose his own life when he reentered the building to search for stragglers. The opera focuses on his journey from childhood in Cornwall, England, to his role in the tragic events on 9/11. An exploration of a life that culminated in those heroic actions is a story worth examining.
Unfortunately, it was poorly told.]]></description> <wfw:commentRss>http://calitreview.com/19971/feed</wfw:commentRss> <slash:comments>3</slash:comments> </item> <item><title>Dance Review: The Royal Danish Ballet in New York</title><link>http://calitreview.com/17903</link> <comments>http://calitreview.com/17903#comments</comments> <pubDate>Sun, 26 Jun 2011 20:02:28 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[August Bournonville]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Royal Danish Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=17903</guid> <description><![CDATA[As the New York City Ballet has become a steward of ballets by Jerome Robbins and George Balanchine, so the Royal Danish Ballet is the chief caretaker of August Bournonville's work.  At the Saturday matinee performance by the Royal Danish Ballet in New York, we were treated to two ballets that are staples of the Bournonville repertoire: <em>La Sylphide</em> and the third act of <em>Napoli</em>.  ]]></description> <wfw:commentRss>http://calitreview.com/17903/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance Review: American Ballet Theatre&#8217;s Coppélia</title><link>http://calitreview.com/17851</link> <comments>http://calitreview.com/17851#comments</comments> <pubDate>Fri, 24 Jun 2011 23:27:33 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[American Ballet Theatre]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Coppélia]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=17851</guid> <description><![CDATA[Osipova dances on a similarly grand scale: her buoyant leaps seem disproportionately large for her small frame (and appear nearly effortless), and her expressive face and upper body register to the whole theater. Her Swanhilda is entirely delightful: canny and curious, charming and occasionally petulant.]]></description> <wfw:commentRss>http://calitreview.com/17851/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Theater Review: Spider-man: Turn off the Dark</title><link>http://calitreview.com/17679</link> <comments>http://calitreview.com/17679#comments</comments> <pubDate>Mon, 20 Jun 2011 18:12:19 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[Marvel]]></category> <category><![CDATA[Spider-man: Turn off the Dark]]></category> <category><![CDATA[theater musical]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=17679</guid> <description><![CDATA[Despite the fact that the producers of this spectacle have been changing their minds for months now, throwing out directors and story lines, reworking songs and dance numbers and dialogue, the heart of this superhero musical flutters weakly, pumping worn out clichés—and millions of dollars—through its veins. As the Green Goblin croons cannily at the beginning of Act Two, in a rare moment of clarity, this is a “65 million dollar circus tragedy.”]]></description> <wfw:commentRss>http://calitreview.com/17679/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance Review: New York City Ballet Opens Its Spring Season</title><link>http://calitreview.com/16278</link> <comments>http://calitreview.com/16278#comments</comments> <pubDate>Tue, 10 May 2011 10:33:29 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Amar Ramasar]]></category> <category><![CDATA[Andrew Veyette]]></category> <category><![CDATA[Anthony Huxley]]></category> <category><![CDATA[Ask la Cour]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Chase Finlay]]></category> <category><![CDATA[George Balanchine]]></category> <category><![CDATA[Gonzalo Garcia]]></category> <category><![CDATA[Janie Taylor]]></category> <category><![CDATA[Jared Angle]]></category> <category><![CDATA[Jennie Somogyi]]></category> <category><![CDATA[Maria Kowrowski]]></category> <category><![CDATA[Megan Fairchild]]></category> <category><![CDATA[New York City Ballet]]></category> <category><![CDATA[NYCB]]></category> <category><![CDATA[Sébastien Marcovici]]></category> <category><![CDATA[Teresa Reichlen]]></category> <category><![CDATA[Tyler Angle]]></category> <category><![CDATA[Wendy Whelan]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=16278</guid> <description><![CDATA[As anyone who has seen the New York City Ballet can attest, George Balanchine hardly stuck to one dance style. Yet the ballets for which he is most well-known are his “black and white” ballets, works in which he stripped ballet to its essence — movement, and music, and the ways in which the two illuminate each other. Gone were elaborate costumes and sets, replaced with practice clothes (leotards and tights, sometimes accompanied by short dance skirts or belts) and an empty stage. NYCB has devoted the first week of its spring season to a dozen such ballets.]]></description> <wfw:commentRss>http://calitreview.com/16278/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>San Francisco Ballet: The Little Mermaid</title><link>http://calitreview.com/15735</link> <comments>http://calitreview.com/15735#comments</comments> <pubDate>Sat, 07 May 2011 02:16:56 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[San Francisco Ballet]]></category> <category><![CDATA[The Little Mermaid]]></category> <category><![CDATA[Yuan Yuan Tan]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=15735</guid> <description><![CDATA[Although described as being more closely aligned with the Andersen tale, this is an exposition more focused on the pain and suffering aspect of the story than in the redemptive resolution of the original. Andersen's Mermaid is not primarily interested in the Prince, but recognizes that his love can help her gain an immortal soul, something the merpeople do not possess. For this to happen, however, the Prince must fall in love with and marry her. If he doesn't, her deal with the Sea Witch is that she will die, turning into sea foam.]]></description> <wfw:commentRss>http://calitreview.com/15735/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>Theater Review: Catch Me If You Can</title><link>http://calitreview.com/15483</link> <comments>http://calitreview.com/15483#comments</comments> <pubDate>Tue, 19 Apr 2011 19:41:01 +0000</pubDate> <dc:creator>Andi Stover</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Aaron Tveit]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[theater comedy]]></category> <category><![CDATA[theater musical]]></category> <category><![CDATA[Tom Wopat]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=15483</guid> <description><![CDATA[Without question, the true stars of this musical are the gorgeous chorus girls who glide along the stage with dazzling grace. Choreographer Jerry Mitchell recalls a bygone era creating magic with an array of kick lines and fan dances. The male chorus also displays energetic power, but really, nothing can compare to those smooth gleaming gams. They hypnotize with effortless feminine beauty.]]></description> <wfw:commentRss>http://calitreview.com/15483/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>San Francisco Ballet: Six for Two</title><link>http://calitreview.com/15354</link> <comments>http://calitreview.com/15354#comments</comments> <pubDate>Thu, 14 Apr 2011 19:29:07 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Christopher Wheeldon]]></category> <category><![CDATA[Chroma]]></category> <category><![CDATA[Frances Chung]]></category> <category><![CDATA[Jack White]]></category> <category><![CDATA[Jody Talbot]]></category> <category><![CDATA[Maria Kochetkova]]></category> <category><![CDATA[Number Nine]]></category> <category><![CDATA[Pascal Molat]]></category> <category><![CDATA[Petrouchka]]></category> <category><![CDATA[San Francisco Ballet]]></category> <category><![CDATA[White Stripes]]></category> <category><![CDATA[Yuan Yuan Tan]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=15354</guid> <description><![CDATA[Chic, black Sandra Woodall costumes and the predominately white lighting plan by David Finn serve to pare the work down to its visual essentials, allowing Tomasson's choreographic design to stand on its own merits.  From the unusual slow opening section featuring Yuan Yuan Tan and Tiit Helimets (one of this season's more felicitous pairings) to the brisk male solo danced by Joan Boada, all the action is in service to the music. Especially effective is the 3rd Movement trio danced by Dores Andre, Elizabeth Miner, and Joan Boada. Fluid and flirtatious, it is a real charmer.]]></description> <wfw:commentRss>http://calitreview.com/15354/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance Review: San Francisco Ballet&#8217;s Coppélia</title><link>http://calitreview.com/14985</link> <comments>http://calitreview.com/14985#comments</comments> <pubDate>Wed, 23 Mar 2011 00:46:32 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Coppélia]]></category> <category><![CDATA[San Francisco Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14985</guid> <description><![CDATA[This production is, in a word — <em>glorious</em>! The lush backgrounds, from the opening wisteria-covered village green to the detailed interior of Dr. Coppélius' workshop with its cantilevered bookshelves and spare doll parts, framed some terrific dancing by soloists and corps alike.]]></description> <wfw:commentRss>http://calitreview.com/14985/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>Theatre Review: Frankenstein at the National Theatre, London</title><link>http://calitreview.com/14682</link> <comments>http://calitreview.com/14682#comments</comments> <pubDate>Tue, 08 Mar 2011 07:00:32 +0000</pubDate> <dc:creator>Jem Bloomfield</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Benedict Cumberbatch]]></category> <category><![CDATA[Danny Boyle]]></category> <category><![CDATA[Frankenstein]]></category> <category><![CDATA[Jonny Lee Miller]]></category> <category><![CDATA[Nick Dear]]></category> <category><![CDATA[The National Theatre]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14682</guid> <description><![CDATA[There are some terrific “There’s something in the sack!” or “What’s that climbing down the wall?” moments, and Danny Boyle really knows how to deploy a flash of lightning.  Steering clear of too much mad-scientist “It livessss!” stuff allows him to direct this part of the show with the kind of punch which movie-goers will remember from his film <em>Shallow Grave</em>. ]]></description> <wfw:commentRss>http://calitreview.com/14682/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>Theater Review: Good People Starring Frances McDormand</title><link>http://calitreview.com/14626</link> <comments>http://calitreview.com/14626#comments</comments> <pubDate>Fri, 04 Mar 2011 03:00:47 +0000</pubDate> <dc:creator>Andi Stover</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[Daniel Sullivan]]></category> <category><![CDATA[David Lindsay-Abaire]]></category> <category><![CDATA[Estelle Parsons]]></category> <category><![CDATA[Frances McDormand]]></category> <category><![CDATA[Renée Elise Goldsberry]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14626</guid> <description><![CDATA[McDormand ‘s stellar performance captures the complexity of her character by combining swift comic timing with nuanced moments of strained vulnerability. One moment during the second scene, she fixes her stare outside a dingy kitchen window to piercingly convey a rising desperation within. With honesty and clarity, Lindsay-Abaire and McDormand come together to create a compelling portrait that doesn’t beg for pity, but commands respect and serious contemplation.]]></description> <wfw:commentRss>http://calitreview.com/14626/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance Review: San Francisco Ballet Offers Theme and Variations, Winter Dreams and TRIO</title><link>http://calitreview.com/14553</link> <comments>http://calitreview.com/14553#comments</comments> <pubDate>Tue, 01 Mar 2011 19:05:49 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Damian Smith]]></category> <category><![CDATA[Frances Chung]]></category> <category><![CDATA[Gennadi Nedvigin]]></category> <category><![CDATA[Helgi Tomasson]]></category> <category><![CDATA[Lorena Feijoo]]></category> <category><![CDATA[Maria Kochetkova]]></category> <category><![CDATA[San Francisco Ballet]]></category> <category><![CDATA[Sofiane Sylve]]></category> <category><![CDATA[Taras Domitro]]></category> <category><![CDATA[Tchaikovsky]]></category> <category><![CDATA[Theme and Variations]]></category> <category><![CDATA[Tiit Helimets]]></category> <category><![CDATA[TRIO]]></category> <category><![CDATA[Winter Dreams]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14553</guid> <description><![CDATA[<em>Theme and Variations</em> is a textbook ballet, showcasing the best of Balanchine’s Russian past while offering an indication of the direction classical dance would take in the second half of the 20th century. Whether by homage or imitation, as in the many symphonic ballets in countries created around the world, or in works that rage against the format, as in much of the work created by William Forsythe and his disciples, <em>Theme and Variations</em> remains the standard.]]></description> <wfw:commentRss>http://calitreview.com/14553/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>Opera Review: Anna Nicole at the Royal Opera House, London</title><link>http://calitreview.com/14426</link> <comments>http://calitreview.com/14426#comments</comments> <pubDate>Thu, 24 Feb 2011 17:26:51 +0000</pubDate> <dc:creator>Jem Bloomfield</dc:creator> <category><![CDATA[Music]]></category> <category><![CDATA[Opera]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Royal Opera House]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14426</guid> <description><![CDATA[Anna Nicole zipped herself up in a bodybag, surrounded by a crowd of camera-headed creatures which had been stalking her all the way through the second act, peering at her and sorting through piles of rubbish on the stage. The sudden blackout at the end produced a pause, then elated applause.]]></description> <wfw:commentRss>http://calitreview.com/14426/feed</wfw:commentRss> <slash:comments>2</slash:comments> </item> <item><title>Dance Review: New York City Ballet&#8217;s Swan Lake</title><link>http://calitreview.com/14177</link> <comments>http://calitreview.com/14177#comments</comments> <pubDate>Tue, 15 Feb 2011 23:26:17 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Black Swan]]></category> <category><![CDATA[New York City Ballet]]></category> <category><![CDATA[Peter Martins]]></category> <category><![CDATA[Sara Mearns]]></category> <category><![CDATA[Swan Lake]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14177</guid> <description><![CDATA[The dual-role of Odette/Odile in <em>Swan Lake</em> is well-known -- probably more now than ever, thanks to the <em>Black Swan</em> phenomenon. Odette is tragic and pure; Odile is darker, seductive, evil with a capital "E." Sara Mearns, who danced the parts in New York City Ballet's production of <em>Swan Lake</em> on Sunday, has passed over this truism for a far more interesting interpretation.]]></description> <wfw:commentRss>http://calitreview.com/14177/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance Review: New York City Ballet</title><link>http://calitreview.com/14078</link> <comments>http://calitreview.com/14078#comments</comments> <pubDate>Fri, 11 Feb 2011 23:50:06 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[New York City Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14078</guid> <description><![CDATA[I never tire of seeing <em>After the Rain</em>, however, and doubt that I will. This ballet, choreographed to music by Arvo Pärt, begins with six dancers on the far side of the stage. In front of a backdrop that looks like a rain-spattered window, the women, facing the audience, lift their legs to high <em>penchées</em>--a memorable beginning. ]]></description> <wfw:commentRss>http://calitreview.com/14078/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> </channel> </rss>
