Director's Cut
Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring. Many audience members inside the War Memorial Opera House wore pastel silk or lace, and adorned their heads with delicate flower garlands purchased from the company gift shop. On stage, the dancers were even more finely arrayed: For this production, artistic director Tamara Rojo borrowed the sets and costumes by Christian Lacroix created for Paris Opera Ballet in 2017. The whole visual package had a feeling of old world, hand-crafted care, not only in Lacroix’s unbelievably detailed second act tutus (white lace on top, pink tulle in a bright rim below), but especially in the hand painted sets with their giant pansies shading Titania’s bower. Most remarkably, none of this upstaged the dancing.
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Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
Continue ReadingThe Trisha Brown Dance Company embarks on a national tour this June celebrating the centennial of avant-garde American visual artist Robert Rauschenberg.
Continue ReadingFor Ballet Hispánico’s upcoming season at New York City Center from May 29-June 1, the company will present Gustavo Ramírez Sansano's “Carmen.maquia,” a contemporary take on the timeless story at the heart of George Bizet’s unforgettable opera “Carmen.”
Continue ReadingAngelina Laguna kneels on the sidewalk and places her body perpendicular to the flow of the First Avenue foot traffic.
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