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.
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San Francisco Ballet artistic director Tamara Rojo may have taken on more drama than she bargained for programming a star-studded “Swan Lake” encore for the finale of her first season here. After all, for 37 years under Helgi Tomasson, SFB may have welcomed occasional guest artists, but the company didn’t much promote them. (As a New York City Ballet alum, Tomasson hewed closer to George Balanchine’s “no stars” casting ethos than to American Ballet Theatre’s.) West Coast ballet goers aren’t used to casting-driven ticket sales, and people went into a tizzy when the Royal Ballet’s Natalia Osipova was announced as Rojo’s glitziest guest. Tickets were put on sale before Osipova’s exact performance dates were decided, and buyers snapped up multiple dates hoping to win the Osipova lottery, flying in from far and wide to catch a legend.
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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.
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Brava, Rachel for your fine review, written as beautifully as the
Swan Lake ballet itself.