San Francisco Ballet, the U.S.’s oldest professional ballet company and second largest, is entering its 90th season at a moment of profound transition. Helgi Tomasson, artistic director for 37 years, has just handed the reins to Tamara Rojo, who arrives triumphantly after a decade of success raising the profile of the English National Ballet. Aside from both prizing the work of William Forsythe, the two are markedly different in their repertory interests, but Rojo’s programming direction—will the company still dance Balanchine and Robbins?—won’t be known until she announces the 2024 season this April. In the meantime, the company is dancing a 2023 season curated entirely by Tomasson. It was wise of him to launch it with a bold, flashy festival titled next@90.
San Francisco Ballet in Breiner's “The Queen's Daughter.” Photograph by Lindsay Thomas
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading