Director's Cut
Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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Sacramento Ballet executive and artistic director Anthony Krutzkamp dresses sharp and gives a memorable pre-curtain speech. The way he tells it, the Central California company was in rehearsals for “Swan Lake” last year when he realized he faced an enviable problem: the dancers were too good for the ballets he’d programmed under a five-year plan. So Krutzkamp scrapped that plan and got on the phone, securing a commission from the internationally rising South African choreographer Andrea Schermoly. He then asked San Francisco-based Val Caniparoli for the rights to his widely performed “Ibsen’s House,” and decided to round the program out with Balanchine’s “Apollo.” That last ballet, from 1928, was arguably the only really innovative work on a mixed-rep bill titled “Innovations”—but I’m not complaining. The best thing about this slate was that it proved Krutzkamp right about the dancers. They look like they can take on anything.
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Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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That’s the beauty of Balanchine, isn’t it? The works can withstand almost any casting with their essences intact, but every dancer who passes through them alters the tenor of each piece too. As do the stagers. Wish I could’ve seen this group, but thank you Rachel for the lovely reporting!