Points of View
From the back of the stage, a single searchlight points in the direction of the audience, and as it does, it sweeps across the forms of seven dancers in Stephanie Lake’s “Seven Days.”
PlusWorld-class review of ballet and dance.
When Camille A. Brown appears out of the dark upstage and into the light, it prompts an unironic version of the question: “To what do I owe this honor?”
There is intention and clarity in every move of the solo she dances in her latest work, “I Am.” Her arms pull apart, one elbow bending way back as if pulling the string of a bow. Her focus is sharp, yet she maintains a sense of play with whatever is in her sights. A reverberating voice says, “You are not in a prison . . . for being yourself.” A knowing look flashes across her face.
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From the back of the stage, a single searchlight points in the direction of the audience, and as it does, it sweeps across the forms of seven dancers in Stephanie Lake’s “Seven Days.”
PlusAt a time when the arts in America are under attack and many small dance companies are quietly disappearing, San Francisco’s dance scene—for decades second in its volume of activity only to New York—still has a pulse.
PlusNoé Soulier enters the space without warning, and it takes a few seconds for the chattering audience to register the man now standing before them, dressed simply in a grey t-shirt and black pants, barefoot.
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