Super Nothing
In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
PlusWorld-class review of ballet and dance.
Packing 31 performances into just over two weeks, San Francisco Ballet’s “Nutcracker” season is a grueling marathon for the corps dancers, and at the same time a field of opportunity for rising talents. This year the scouting was particularly interesting because the company’s new artistic director, Tamara Rojo, has let the principal ranks thin out during her last hiring round, taking in only new corps members. Consequently, upstarts had more chances at the star roles requiring topmost technical chops. I caught three shows and walked out of the gilt War Memorial Opera House encouraged by both the nearly sold-out crowds in the seats, and by the caliber of the debuts on stage.
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In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
Plus“Well, it’s big,” Seattle ballet fans were saying as they headed into McCaw Hall’s sleek sanctuary of velvet settees and shiny metal staircases.
PlusNever forget!” With the 80th anniversary of the liberation of Auschwitz and International Holocaust Remembrance Day both having been recognized last month, these words, although unspoken, coursed through Melissa Barak’s first evening-length ballet, “Memoryhouse.”
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Brava, Rachel! Thank you so much for this excellent review. Great to have a
Fjord writer who is so familiar with our fine San Francisco Ballet dancers.