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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>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>Smuin Ballet and Diablo Ballet: Two Praiseworthy Bay Area Dance Companies</title><link>http://calitreview.com/26441</link> <comments>http://calitreview.com/26441#comments</comments> <pubDate>Thu, 10 May 2012 13:15:33 +0000</pubDate> <dc:creator>Toba Singer</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Diablo Ballet]]></category> <category><![CDATA[Smuin Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=26441</guid> <description><![CDATA[There are a few privileges that come with the role of dance critic. One that is not so obvious, but very gratifying, is watching companies start, develop, and come into their own. If you remain in one locale long enough, you see large companies grow more magisterial, and small ones pop up on the horizon, fall away, or survive and aggregate dancers, repertoire, audiences, endowment, and heft.]]></description> <wfw:commentRss>http://calitreview.com/26441/feed</wfw:commentRss> <slash:comments>3</slash:comments> </item> <item><title>Five Questions with Oregon Ballet Theatre Artistic Director Christopher Stowell</title><link>http://calitreview.com/26146</link> <comments>http://calitreview.com/26146#comments</comments> <pubDate>Tue, 01 May 2012 18:19:38 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Christopher Stowell]]></category> <category><![CDATA[Diablo Ballet]]></category> <category><![CDATA[Interview]]></category> <category><![CDATA[Oregon Ballet Theatre]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=26146</guid> <description><![CDATA[We have created a lean, but very powerful group of artists with an incredible work ethic and drive and a hunger for giving their all on stage. We also have a sophisticated and eclectic repertoire that our audiences eat up.]]></description> <wfw:commentRss>http://calitreview.com/26146/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>An Interview with San Francisco Ballet Soloist Clara Blanco</title><link>http://calitreview.com/25934</link> <comments>http://calitreview.com/25934#comments</comments> <pubDate>Thu, 26 Apr 2012 12:40:26 +0000</pubDate> <dc:creator>Toba Singer</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Clara Blanco]]></category> <category><![CDATA[Interview]]></category> <category><![CDATA[San Francisco Ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=25934</guid> <description><![CDATA[But dancing a character both fulfills and exhausts you. After <em>Artifact</em>, I felt dead, but it was a good dead!]]></description> <wfw:commentRss>http://calitreview.com/25934/feed</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item><title>5 Questions with Choreographer Val Caniparoli (Part 2)</title><link>http://calitreview.com/25925</link> <comments>http://calitreview.com/25925#comments</comments> <pubDate>Wed, 25 Apr 2012 13:49:54 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Smuin Ballet]]></category> <category><![CDATA[Val Caniparoli]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=25925</guid> <description><![CDATA[It's always good to try and schedule time when the company is performing, as you get a better sense of individual dancers and how they perform onstage. You can't always know if and how a dancer transforms onstage as opposed to how they work in the rehearsal studio.]]></description> <wfw:commentRss>http://calitreview.com/25925/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Dance Review: Alonzo King LINES Ballet’s Triangle of Squinches</title><link>http://calitreview.com/25714</link> <comments>http://calitreview.com/25714#comments</comments> <pubDate>Thu, 19 Apr 2012 12:34:26 +0000</pubDate> <dc:creator>Toba Singer</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Alonzo King LINES]]></category> <category><![CDATA[ballet]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=25714</guid> <description><![CDATA[Act I of Alonzo King LINES Ballet’s <em>Triangle of Squinches</em> plays out in front of a backdrop of several hundred silvered bungee cords, stretched perpendicular to the Novellus Theater stage floor so that they form a brilliantine thicket through which dancers will emerge, and retreat. The dancers will pluck the cords like harp strings, lean in to, ascend and descend them.]]></description> <wfw:commentRss>http://calitreview.com/25714/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>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>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>Two World Premiers from ODC/Dance</title><link>http://calitreview.com/24700</link> <comments>http://calitreview.com/24700#comments</comments> <pubDate>Mon, 19 Mar 2012 16:38:10 +0000</pubDate> <dc:creator>Toba Singer</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[dance modern]]></category> <category><![CDATA[Oberlin College]]></category> <category><![CDATA[ODC Downtown]]></category> <category><![CDATA[ODC/Dance]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=24700</guid> <description><![CDATA[Overall, <em>Transit</em> creates a recognizable place, but the dancers, while mostly a spirited lot, seem to lack the spitfire facility of their predecessors, and here I am thinking of Shannon D. Mitchell, Robert Moses, Brian Fisher, Kevin Ware, KT Nelson  and Yukie Fujimoto, a vanished comet of former ODC stars.]]></description> <wfw:commentRss>http://calitreview.com/24700/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>7 Questions with San Francisco Favorite Joanna Berman</title><link>http://calitreview.com/24245</link> <comments>http://calitreview.com/24245#comments</comments> <pubDate>Wed, 29 Feb 2012 06:48:42 +0000</pubDate> <dc:creator>Geri Jeter</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[ballet]]></category> <category><![CDATA[Christopher Wheeldon]]></category> <category><![CDATA[Diablo Ballet]]></category> <category><![CDATA[Joanna Berman]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=24245</guid> <description><![CDATA[Today, because of her experience in such an extensive repertory, Berman is in demand as a regisseur, assisting choreographers in bringing their existing ballets to new audiences. This past month, she has been working with Walnut Creek’s Diablo Ballet, setting Christopher Wheeldon’s <em>Mercurial Manoeuvres</em>, which is part of the <em>Inside the Dancer’s Studio</em> program to be presented Friday and Saturday, March 2 and 3.]]></description> <wfw:commentRss>http://calitreview.com/24245/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>Israel&#8217;s Batsheva Dance Company Performs Max</title><link>http://calitreview.com/24216</link> <comments>http://calitreview.com/24216#comments</comments> <pubDate>Mon, 27 Feb 2012 14:41:24 +0000</pubDate> <dc:creator>Toba Singer</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Israel]]></category> <category><![CDATA[Batsheva Dance Company]]></category> <category><![CDATA[dance modern]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=24216</guid> <description><![CDATA[Movement gives way to dancers sidling up to partners, though they do not dance with them, except in one chassé sequence, where the partners face one  another and take a tentative, almost disinterested measure of the calculated steps.]]></description> <wfw:commentRss>http://calitreview.com/24216/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item><title>This Sweet Nothing Reimagines Nijinsky&#8217;s Afternoon of a Faun</title><link>http://calitreview.com/24097</link> <comments>http://calitreview.com/24097#comments</comments> <pubDate>Thu, 23 Feb 2012 02:53:17 +0000</pubDate> <dc:creator>Toba Singer</dc:creator> <category><![CDATA[Blog-Dance]]></category> <category><![CDATA[Dance]]></category> <category><![CDATA[Disability]]></category> <category><![CDATA[Homer Avila]]></category> <category><![CDATA[Lisa Bufano]]></category> <category><![CDATA[Sonsherée Giles]]></category> <category><![CDATA[This Sweet Nothing]]></category> <guid
isPermaLink="false">http://calitreview.com/?p=24097</guid> <description><![CDATA[Her duet with Giles, in which both dancers use stilts to place themselves on the same locus, invites us to meet a pair of post-Nijinsky characters, two women who move like languid praying mantises, fluid, deliberate, yet delicate, as they explore a sensuality between women, untested by the choreographers of Nijinsky’s time.]]></description> <wfw:commentRss>http://calitreview.com/24097/feed</wfw:commentRss> <slash:comments>0</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>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> </channel> </rss>
