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> <channel><title>California Literary Review &#187; Dance</title> <atom:link href="http://calitreview.com/category/topics/dance/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>Dance Review: The Nutcracker, English National Ballet  at The Coliseum, London</title><link>http://calitreview.com/22865</link> <comments>http://calitreview.com/22865#comments</comments> <pubDate>Sat, 31 Dec 2011 20:54:55 +0000</pubDate> <dc:creator>Jem Bloomfield</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[English National Ballet]]></category> <category><![CDATA[Nutcracker]]></category> <category><![CDATA[The Nutcracker]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=22865</guid> <description><![CDATA[For once the Mouse King is a genuinely compelling villain: his mask is a giant rodent’s skull with red eyes, his costume is murkily tatty and his dancing has a blend of exuberance and creepiness which makes him a joy to watch.  James Streeter is the first Mouse King I’ve seen that Clara <em>should</em> be afraid of.]]></description> <wfw:commentRss>http://calitreview.com/22865/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Smuin Ballet Swims in the Blue Ocean of Holiday Fun</title><link>http://calitreview.com/22581</link> <comments>http://calitreview.com/22581#comments</comments> <pubDate>Mon, 19 Dec 2011 15:00:45 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[san francisco]]></category> <category><![CDATA[Smuin Ballet]]></category> <category><![CDATA[Yerba Buena Center]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=22581</guid> <description><![CDATA[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.]]></description> <wfw:commentRss>http://calitreview.com/22581/feed</wfw:commentRss> <slash:comments>1</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>Diablo Ballet &amp; the White Cat Syndrome</title><link>http://calitreview.com/21941</link> <comments>http://calitreview.com/21941#comments</comments> <pubDate>Mon, 28 Nov 2011 06:21:07 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Diablo Ballet]]></category> <category><![CDATA[Dominic Walsh]]></category> <category><![CDATA[Robert Dekkers]]></category> <category><![CDATA[San Francisco Bay Area]]></category> <category><![CDATA[Septime Webre]]></category> <category><![CDATA[Val Caniparoli]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=21941</guid> <description><![CDATA[A great thing about living in the Bay Area is that the local dance world is full of surprises. One day you think you've seen pretty much everything there is on offer, and the next you discover something that's been there for a while but is new to you. It's kind of like being one of those white cats, some of which tend to be a bit slow on the uptake.]]></description> <wfw:commentRss>http://calitreview.com/21941/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Review: Fall for Dance</title><link>http://calitreview.com/21263</link> <comments>http://calitreview.com/21263#comments</comments> <pubDate>Tue, 01 Nov 2011 23:14:17 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[all fours]]></category> <category><![CDATA[bartok string quartet no. 4]]></category> <category><![CDATA[edwaard liang]]></category> <category><![CDATA[joffrey ballet]]></category> <category><![CDATA[lil buck]]></category> <category><![CDATA[mark morris]]></category> <category><![CDATA[rogues]]></category> <category><![CDATA[the swan]]></category> <category><![CDATA[trisha brown]]></category> <category><![CDATA[woven dreams]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=21263</guid> <description><![CDATA[Mark Morris Dance Group in All Fours. Photo by Stephanie Berger. The appeal of New York City Center&#8217;s Fall for Dance Festival, which engages 20 dance companies over a period of ten days, was perfectly apparent in Lil Buck&#8217;s The Swan, a solo dance performed on opening night. This reimagining of the eponymous variation from [...]]]></description> <wfw:commentRss>http://calitreview.com/21263/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>Smuin Ballet Kicks Off Its 2011-2012 Season</title><link>http://calitreview.com/20354</link> <comments>http://calitreview.com/20354#comments</comments> <pubDate>Thu, 29 Sep 2011 07:07:39 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Patsy Cline]]></category> <category><![CDATA[san francisco]]></category> <category><![CDATA[Smuin Ballet]]></category> <category><![CDATA[Stabat Mater]]></category> <category><![CDATA[tango]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=20354</guid> <description><![CDATA[The spotlight for this season opener is the world premiere of <em>Dear Miss Cline</em> by Choreographer-in-Residence Amy Seiwert, which she has described as her most "Smuin-esque" piece to date. Set to ten classic Patsy Cline recordings, it is a sometimes comic, often touching, exploration of interpersonal relationships. The company has a real winner with this ballet. A big plus were the cheerful costumes by Jo Ellen Arntz (with Amy Seiwert). They captured the period of the late 1950s/early 1960s without descending into cliché-ridden “Hee Haw” country kitsch.
]]></description> <wfw:commentRss>http://calitreview.com/20354/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>New Kid on the Smuin Ballet Block:  Jared Hunt</title><link>http://calitreview.com/20108</link> <comments>http://calitreview.com/20108#comments</comments> <pubDate>Wed, 21 Sep 2011 14:30:05 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Amy Seiwert]]></category> <category><![CDATA[Jared Hunt]]></category> <category><![CDATA[Michael Smuin]]></category> <category><![CDATA[san francisco]]></category> <category><![CDATA[Smuin Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=20108</guid> <description><![CDATA[<strong> </strong>It is wonderful to be dancing in an ensemble again. The company is tremendously talented, and we all feed off each other's energy and abilities. The familial atmosphere works. All the dancers seek to make their fellow company members look their best. There is a sense of common good — a sense of community.]]></description> <wfw:commentRss>http://calitreview.com/20108/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>Life After Fringe: Two Dance Companies to Watch</title><link>http://calitreview.com/19767</link> <comments>http://calitreview.com/19767#comments</comments> <pubDate>Mon, 05 Sep 2011 13:37:43 +0000</pubDate> <dc:creator>Ethan Kanfer</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[New York International Fringe Festival]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=19767</guid> <description><![CDATA[Pittsburgh’s In The Basement Theater Company offers one of this year’s most erotically charged entries. CHIEN DE MOI contains no nudity and very little spoken language. But the primal pounding and sensuous swirling of Marquis Wood and Sophia Schrank’s bold choreography is hauntingly seductive.]]></description> <wfw:commentRss>http://calitreview.com/19767/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance in the Desert Festival: 3 Questions with Choreographer/Festival Director Kelly Roth</title><link>http://calitreview.com/18878</link> <comments>http://calitreview.com/18878#comments</comments> <pubDate>Fri, 29 Jul 2011 04:08:03 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Dance in the Desert]]></category> <category><![CDATA[Kelly Roth]]></category> <category><![CDATA[Las Vegas]]></category> <category><![CDATA[modern dance]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=18878</guid> <description><![CDATA[Now known as a venue for the introduction of innovative work, <em>Dance in the Desert</em> showcases companies from around the world, across the United States, and from the neighboring states of California, Utah, and Arizona, as well as highlighting Nevada's own talent.]]></description> <wfw:commentRss>http://calitreview.com/18878/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Post:Ballet &#8211; Seconds</title><link>http://calitreview.com/18784</link> <comments>http://calitreview.com/18784#comments</comments> <pubDate>Mon, 25 Jul 2011 14:30:30 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Contemporary ballet]]></category> <category><![CDATA[Post:Ballet]]></category> <category><![CDATA[Robert Dekkers]]></category> <category><![CDATA[san francisco]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=18784</guid> <description><![CDATA[In many cities and towns across the U.S., once the local ballet company completes its schedule, local fans have to pretty much wait until next season to get their dance fix. Not so in the San Francisco Bay Area. This dance-rich corner of the country fields a large number of companies that populate the regular fall/spring seasons and encompass everything from classical ballet to contact improvisation. Additionally, during the off-season, while some take a well-deserved break, other dancers and choreographers reconfigure, creating fascinating new companies.]]></description> <wfw:commentRss>http://calitreview.com/18784/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance in the Desert Festival: 3 Questions with Choreographer/Dancer Bernard Gaddis</title><link>http://calitreview.com/18621</link> <comments>http://calitreview.com/18621#comments</comments> <pubDate>Wed, 20 Jul 2011 14:29:50 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Dance in the Desert]]></category> <category><![CDATA[Las Vegas]]></category> <category><![CDATA[modern dance]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=18621</guid> <description><![CDATA[The Las Vegas Contemporary Dance Theater, a popular company scheduled to perform the weekend of July 29/30 at the College of Southern Nevada's annual <em>Dance in the Desert Festival</em>, is relatively new to the Las Vegas dance scene. Founded in 2007 by Bernard H. Gaddis and Charmaine Hunter, LVCDT is Las Vegas’ first professional contemporary dance company. Best known for its passionate and relatable repertoire, the company blends classical and modern styles with a high degree of athleticism.]]></description> <wfw:commentRss>http://calitreview.com/18621/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance in the Desert Festival: 5 Questions with Choreographer Nannette Brodie</title><link>http://calitreview.com/18490</link> <comments>http://calitreview.com/18490#comments</comments> <pubDate>Fri, 15 Jul 2011 14:30:50 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[dance]]></category> <category><![CDATA[Dance in the Desert]]></category> <category><![CDATA[Las Vegas]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=18490</guid> <description><![CDATA[In between their annual festival appearances, the Brodie company, like most of the other Festival participants, presents its own season, conducts classes, and explores new choreographic approaches. However, this past spring, Company Director Nannette Brodie was presented with a new challenge — to choreograph dance material for the Long Beach Opera production of the Philip Glass opera, Akhnaten. In addition to the singing, acting, and orchestral components, the production also included cutting-edge video work.]]></description> <wfw:commentRss>http://calitreview.com/18490/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Book Review: René Blum and the Ballets Russes by Judith Chazin-Bennahum</title><link>http://calitreview.com/18323</link> <comments>http://calitreview.com/18323#comments</comments> <pubDate>Mon, 11 Jul 2011 12:00:22 +0000</pubDate> <dc:creator>Ed Voves</dc:creator> <category><![CDATA[Books]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[France]]></category> <category><![CDATA[Germany]]></category> <category><![CDATA[Non-Fiction Reviews]]></category> <category><![CDATA[Russia]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Ballet Russes]]></category> <category><![CDATA[George Balanchine]]></category> <category><![CDATA[René Blum]]></category> <category><![CDATA[twentieth century]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=18323</guid> <description><![CDATA[All of Blum’s many accomplishments were bracketed between the anti-Semitic turmoil of the Dreyfus Affair that tormented France from 1894 to 1904 and the Nazi-led Holocaust in which he perished. To his dying day, Blum thought of himself as a French patriot. Yet it was the complicity of French officials during the German occupation that set him on the road to Auschwitz.]]></description> <wfw:commentRss>http://calitreview.com/18323/feed</wfw:commentRss> <slash:comments>1</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>San Francisco Ballet — Promotions &amp; New Company Members</title><link>http://calitreview.com/17718</link> <comments>http://calitreview.com/17718#comments</comments> <pubDate>Wed, 22 Jun 2011 16:30:56 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[San Francisco Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=17718</guid> <description><![CDATA[San Francisco Ballet has announced four company promotions, two new company members, and six new apprentices for the 2012 Repertory Season.
Soloist <em>Vito Mazzeo</em> has been promoted to principal dancer effective July 1, 2011. In addition, <em>Patricia Keleher, Raymond Tilton,</em> and <em>Caroline Diane Wilson,</em> apprentices during the 2011 Repertory Season, will join the ranks of the corps de ballet effective July 1, along with former SFB School Trainees <em>Francisco Mungamba</em> and <em>Wan Ting Zhao</em>. A complete and updated announcement and company roster will be distributed in July.]]></description> <wfw:commentRss>http://calitreview.com/17718/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>Review: Boston Ballet&#8217;s Bella Figura</title><link>http://calitreview.com/15738</link> <comments>http://calitreview.com/15738#comments</comments> <pubDate>Fri, 06 May 2011 19:00:43 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Bella Figura]]></category> <category><![CDATA[Boston Ballet]]></category> <category><![CDATA[Helen Pickett]]></category> <category><![CDATA[Jiri Kylian]]></category> <category><![CDATA[PART I II III]]></category> <category><![CDATA[The Second Detail]]></category> <category><![CDATA[William Forsythe]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=15738</guid> <description><![CDATA[When the curtain rises on <em>The Second Detail</em>, the stage looks leeched of color: the leotards worn by the dancers are an icy, bleached blue, the walls are muted gray.  Along the back edge of the stage is a row of simple black stools, where throughout the piece dancers perch to rest.
It feels both stylish and vaguely unformed -- an aesthetic that runs through the piece, from the attitude of the dancers to the block-lettered "THE" placed challengingly on the lip of the stage. ]]></description> <wfw:commentRss>http://calitreview.com/15738/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>San Francisco Ballet Announces 2012 Season</title><link>http://calitreview.com/15494</link> <comments>http://calitreview.com/15494#comments</comments> <pubDate>Wed, 20 Apr 2011 19:03:11 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[San Francisco Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=15494</guid> <description><![CDATA[As each ballet season draws to an end, the speculation about the next year's offerings begins. Well, San Francisco Ballet fans don't have to wait any longer. This week, SFB released the upcoming season, and it looks to be amazing!]]></description> <wfw:commentRss>http://calitreview.com/15494/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>Review: Dance Under the Influence at MAD</title><link>http://calitreview.com/14919</link> <comments>http://calitreview.com/14919#comments</comments> <pubDate>Wed, 13 Apr 2011 17:28:33 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Ben Munisteri]]></category> <category><![CDATA[Dying Swan]]></category> <category><![CDATA[Michelle Wiles]]></category> <category><![CDATA[Miro Magloire]]></category> <category><![CDATA[Museum of Art and Design]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14919</guid> <description><![CDATA[Last month, in the second performance of the series, the relationship between the two art forms was not particularly explicit. Of the three choreographers (Miro Magloire, Ben Munisteri, and Michelle Wiles), only Munisteri cited particular works that inspired his piece. What emerged instead -- in both the dance works shown and the discussion after the performance -- was a reflection on space in dance and and other visual and performing arts.]]></description> <wfw:commentRss>http://calitreview.com/14919/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Review: Mark Morris Dance Group</title><link>http://calitreview.com/14952</link> <comments>http://calitreview.com/14952#comments</comments> <pubDate>Fri, 25 Mar 2011 19:57:51 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Festival Dance]]></category> <category><![CDATA[mark morris]]></category> <category><![CDATA[Petrichor]]></category> <category><![CDATA[The Muir]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14952</guid> <description><![CDATA[In the last section of Mark Morris' Festival Dance, one dancer picks up his partner and spins around so that her legs fly out with centrifugal force, and just when it seems he will put her down (she's been up in the air for quite a while and the musical phrase is coming to a close), she hitches her arms more securely about him and they continue on. It's a bit like someone who won't stop talking though short of breath, too giddy to stop the flow of words.]]></description> <wfw:commentRss>http://calitreview.com/14952/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>Review: Buglisi Dance Theatre and Paul Taylor Dance Company</title><link>http://calitreview.com/14492</link> <comments>http://calitreview.com/14492#comments</comments> <pubDate>Sun, 20 Mar 2011 19:16:40 +0000</pubDate> <dc:creator>Hanna Oldsman</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Buglisi]]></category> <category><![CDATA[Company B]]></category> <category><![CDATA[Letters of Love on Ripped Paper]]></category> <category><![CDATA[Paul Taylor]]></category> <category><![CDATA[Phantasmagoria]]></category> <category><![CDATA[Requiem]]></category> <category><![CDATA[The Word]]></category> <category><![CDATA[William Carlos Williams]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=14492</guid> <description><![CDATA[The dancers of Buglisi Dance Theatre are perhaps the chief reason to see this company, which performed at the Joyce last week.  These remarkable dancers have formidable technique (many are trained in the Martha Graham style), and they are capable of infusing their dancing with drama, humor, and wit. Their gifts were particularly evident in Requiem, the first piece on the program.  In this work, the gravitas of Fauré's score flows up their straight backs and out through their eyes; there is conviction in every contraction of their spines, every movement of their hands and arms.]]></description> <wfw:commentRss>http://calitreview.com/14492/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> </channel> </rss>
