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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>Thu, 24 May 2012 17:23:39 +0000</lastBuildDate> <language>en</language> <sy:updatePeriod>hourly</sy:updatePeriod> <sy:updateFrequency>1</sy:updateFrequency> <generator>http://wordpress.org/?v=3.3.2</generator> <item><title>Broadway Review: Nice Work If You Can Get It</title><link>http://calitreview.com/25902</link> <comments>http://calitreview.com/25902#comments</comments> <pubDate>Thu, 03 May 2012 17:04:58 +0000</pubDate> <dc:creator>Ethan Kanfer</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Chris Sullivan]]></category> <category><![CDATA[Estelle Parsons]]></category> <category><![CDATA[Jennifer Laura Thompson]]></category> <category><![CDATA[Judy Kaye]]></category> <category><![CDATA[Kelli O'Hara]]></category> <category><![CDATA[Matthew Broderick]]></category> <category><![CDATA[Michael McGrath]]></category> <category><![CDATA[Nice Work If You Can Get It]]></category> <category><![CDATA[Robyn Hurder]]></category> <category><![CDATA[Stanley Wayne Mathis]]></category> <category><![CDATA[Terry Beaver]]></category> <category><![CDATA[theater musical]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=25902</guid> <description><![CDATA[Broderick gives a generous performance, turning on his patented man-child charm when called upon, but also stepping back and allowing his leading lady and sidemen plenty of space to maneuver. O’Hara makes an apt foil for him, as her persona, even in upbeat scenes, always carries an undertone of fragility.]]></description> <wfw:commentRss>http://calitreview.com/25902/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Don Quixote, San Francisco Ballet, War Memorial Opera House, April 27, 2012</title><link>http://calitreview.com/26086</link> <comments>http://calitreview.com/26086#comments</comments> <pubDate>Sun, 29 Apr 2012 22:35:06 +0000</pubDate> <dc:creator>Toba Singer</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Clara Blanco]]></category> <category><![CDATA[Don Quixote]]></category> <category><![CDATA[San Francisco Ballet]]></category> <category><![CDATA[Vanessa Zahorian]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=26086</guid> <description><![CDATA[Let the ballet snobs pound sand in the <em>corrida</em> if they find neither rhyme, reason, nor much musical innovation in <em>Don Quixote</em>: It is still that sampler of delicacies which, done right, can end the dance season on a crescendo, and on April 27, San Francisco Ballet surpassed all expectations!  The fun begins when your companion of the evening points out querulously that there is a horse trailer parked at the stage door.  You explain, “For the donkey.”]]></description> <wfw:commentRss>http://calitreview.com/26086/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>San Francisco Ballet&#8217;s Program 7, an All-Balanchine Affair</title><link>http://calitreview.com/25584</link> <comments>http://calitreview.com/25584#comments</comments> <pubDate>Sun, 15 Apr 2012 16:16:56 +0000</pubDate> <dc:creator>Toba Singer</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Courtney Elizabeth]]></category> <category><![CDATA[Daniel Deivison-Oliveira]]></category> <category><![CDATA[Divertimento No. 15]]></category> <category><![CDATA[George Balanchine]]></category> <category><![CDATA[Kristina Lind]]></category> <category><![CDATA[San Francisco Ballet]]></category> <category><![CDATA[Sasha de Sola]]></category> <category><![CDATA[Scotch Symphony]]></category> <category><![CDATA[The Four Temperaments]]></category> <category><![CDATA[Yuan Yuan Tan]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=25584</guid> <description><![CDATA[Top honors for the program go to the company’s interpretation of <em>The Four Temperaments</em>, to music by Paul Hindemith. Daniel Deivison-Oliveira and Kristina Lind open the work, each offering an unfolding hand to the other. As she recreates the off-balance pas de deux, Lind carries the very texture of the Balanchine line—long-limbed, with generous extensions—inviting comparisons to Patricia Neary.]]></description> <wfw:commentRss>http://calitreview.com/25584/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Broadway Review: Jesus Christ Superstar</title><link>http://calitreview.com/25259</link> <comments>http://calitreview.com/25259#comments</comments> <pubDate>Thu, 05 Apr 2012 12:32:51 +0000</pubDate> <dc:creator>Ethan Kanfer</dc:creator> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Religion]]></category> <category><![CDATA[Theatre]]></category> <category><![CDATA[Aaron Walpole]]></category> <category><![CDATA[Andrew Lloyd Webber]]></category> <category><![CDATA[Broadway]]></category> <category><![CDATA[Bruce Dow]]></category> <category><![CDATA[Chilina Kennedy]]></category> <category><![CDATA[Jesus Christ Superstar]]></category> <category><![CDATA[Josh Young]]></category> <category><![CDATA[Marcus Nance]]></category> <category><![CDATA[Paul Nolan]]></category> <category><![CDATA[theater musical]]></category> <category><![CDATA[theater revival]]></category> <category><![CDATA[Tim Rice]]></category> <category><![CDATA[Tom Hewitt]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=25259</guid> <description><![CDATA[Today, with <em>The Book of Mormon</em> taking irreverence to new heights and shows like <em>American Idiot</em> cranking up the power chords, any production of <em>Superstar</em> will have to rely on the score’s intrinsic qualities in order to compete for the attention of younger theatergoers.  The good news is that the show’s construction holds up well.]]></description> <wfw:commentRss>http://calitreview.com/25259/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>San Francisco Ballet Offers Raymonda Act III, RAkU and Guide to Strange Places</title><link>http://calitreview.com/25051</link> <comments>http://calitreview.com/25051#comments</comments> <pubDate>Fri, 30 Mar 2012 00:49:32 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Frances Chung]]></category> <category><![CDATA[Guide to Strange Places]]></category> <category><![CDATA[Pascal Molat]]></category> <category><![CDATA[RAkU]]></category> <category><![CDATA[Raymonda Act III]]></category> <category><![CDATA[San Francisco Ballet]]></category> <category><![CDATA[Sarah Van Patten]]></category> <category><![CDATA[Sofiane Sylve]]></category> <category><![CDATA[Tiit Helimets]]></category> <category><![CDATA[Yuan Yuan Tan]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=25051</guid> <description><![CDATA[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 <em>Raymonda Act III</em>, the company re-stakes its claim as a classical company to be reckoned with.]]></description> <wfw:commentRss>http://calitreview.com/25051/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>NY Philharmonic’s Modern Beethoven Festival Concludes</title><link>http://calitreview.com/24999</link> <comments>http://calitreview.com/24999#comments</comments> <pubDate>Wed, 28 Mar 2012 16:03:02 +0000</pubDate> <dc:creator>Lucy Butcher</dc:creator> <category><![CDATA[Music]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Beethoven]]></category> <category><![CDATA[classical music]]></category> <category><![CDATA[David Zinman]]></category> <category><![CDATA[Gil Shaham]]></category> <category><![CDATA[Karl Amadeus Hartmann]]></category> <category><![CDATA[New York Philharmonic]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=24999</guid> <description><![CDATA[There’s nothing worse than a complacent performance of a Beethoven symphony. Being such a staple of the orchestral repertoire, Beethoven is all too easily performed on auto-pilot. Some conductors, however, have made it their mission to find fresh approaches to the great composer, like David Zinman, the music director of the Tonhalle Orchestra of Zurich, who led the New York Philharmonic’s Modern Beethoven festival at Avery Fisher Hall this month.]]></description> <wfw:commentRss>http://calitreview.com/24999/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance Review: San Francisco Ballet Presents The Fifth Season, Symphonic Dances and Glass Pieces</title><link>http://calitreview.com/24893</link> <comments>http://calitreview.com/24893#comments</comments> <pubDate>Mon, 26 Mar 2012 17:46:49 +0000</pubDate> <dc:creator>Toba Singer</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Edward Liang]]></category> <category><![CDATA[Frances Chung]]></category> <category><![CDATA[Glass Pieces]]></category> <category><![CDATA[Helgi Tomassen]]></category> <category><![CDATA[Maria Kochetkova]]></category> <category><![CDATA[Philip Glass]]></category> <category><![CDATA[San Francisco Ballet]]></category> <category><![CDATA[Sofiane Sylve]]></category> <category><![CDATA[Symphonic Dances]]></category> <category><![CDATA[The Fifth Season]]></category> <category><![CDATA[Tiit Helimets]]></category> <category><![CDATA[Vito Mazzeo]]></category> <category><![CDATA[Vitor Luiz]]></category> <category><![CDATA[Yuan Yuan Tan]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=24893</guid> <description><![CDATA[Frances Chung is as resilient as bundled cable. Davit Karapetyan partners her with genteel correctness. They are a brilliant match, swimming over and under each other like sea creatures, as the corps de ballet floods in, and indeed under Jack Mehler’s lighting, individual faces are lost to bodies that leap like flames; you can almost hear the hiss of the aquatic couple’s exit, as if extinguished by the conflagration.]]></description> <wfw:commentRss>http://calitreview.com/24893/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>San Francisco Ballet: It’s in the Programming</title><link>http://calitreview.com/24057</link> <comments>http://calitreview.com/24057#comments</comments> <pubDate>Tue, 21 Feb 2012 14:40:59 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[Alexei Ratmansky]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Christopher Wheeldon]]></category> <category><![CDATA[mark morris]]></category> <category><![CDATA[San Francisco Ballet]]></category> <category><![CDATA[Wayne McGregor]]></category> <category><![CDATA[Yuri Possokhov]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=24057</guid> <description><![CDATA[The world premiere of Mark Morris’s <em>Beaux</em>, set to Martinu's <em>Concerto for Harpsichord</em> (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, <em>Beaux</em> 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.]]></description> <wfw:commentRss>http://calitreview.com/24057/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>Dance Review: NYCB Offers Wheeldon&#8217;s Les Carillons and DGV</title><link>http://calitreview.com/23911</link> <comments>http://calitreview.com/23911#comments</comments> <pubDate>Wed, 15 Feb 2012 14:48:48 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Dance]]></category> <category><![CDATA[Performing Arts]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Christopher Wheeldon]]></category> <category><![CDATA[NYCB]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=23911</guid> <description><![CDATA[The ability to enjoy <em>DGV</em> seems to me largely dependent on how irritating one finds Michael Nyman's driving minimalist score.  The piece (<em>MGV: Musique à Grande Vitesse</em>) was composed at the request of a European railroad company; and if Nyman's music may at first express the ratcheting excitement of being propelled forward at high-speeds, it soon comes to convey instead the tedium of a long train ride. ]]></description> <wfw:commentRss>http://calitreview.com/23911/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <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> </channel> </rss>
