No Escape to the Dream
The curtain rises on Prince Siegfried, asleep and slumped in an armchair. We enter his dream: a mysterious woman dances in the shadows, only to be abruptly seized by a somber, bird-like figure.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet. The meeting had future box office returns on the line. This was San Francisco Ballet’s third annual August presentation by Stanford Live, an engagement that is not just a back-to-school warm-up for the company, but also a way of convincing new South Bay and Silicon Valley fans to travel an hour north to San Francisco for the 2024 season come next January. Rojo is going to need these newcomers for programming that looks quite different from her predecessor Helgi Tomasson’s. She succeeded in offering plenty of whiz-bang spectacle to convert fresh balletomanes, despite a closer that seemed to leave many scratching their heads.
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The curtain rises on Prince Siegfried, asleep and slumped in an armchair. We enter his dream: a mysterious woman dances in the shadows, only to be abruptly seized by a somber, bird-like figure.
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