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Mme. Hermine

Sunday, January 27

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Boards of Directors in general, and the San Francisco Ballet:


...the Ballet board must accept much of the credit for the company's current estate. The transition after former director Lew Christensen's death in 1984 was troubled. The trustees took a chance on the inexperienced Tomasson, despite much grumbling in the community.

Yet, according to both Tomasson and Ballet Executive Director Glenn McCoy, it has been ever since a happy relationship between the artistic staff, executive wing and occupants of the boardroom.

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Pacific Northwest Ballet is outfitted with new costumes for Romeo and Juliet:


For PNB’s first two productions of the ballet, in 2008 and 2009, the company borrowed the original costumes from Monte Carlo. Now, with a third production of “Roméo et Juliette” approaching (opening Friday, running through Feb. 10), PNB’s costume department has undertaken the monumental task of re-creating the 53 different costumes (plus many duplicates) for the ballet, so as to have an in-house set that can potentially be rented out to other companies.

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Alexei Ratmansky discusses his new ballet for San Francisco Ballet with Allan Ulrich:


"From Foreign Lands" will consist of six duets, inspired by the techniques and temperaments of the dancers. "It will be a divertissement," says Ratmansky, similar in structure to the choreographer's "Russian Seasons," which was seen here earlier. "The language is academic, with a few folkloric elements. It needs a lot of presentation, depending on people who can project and do the fancy footwork."


The new season brings "Borderlands," the first San Francisco commission from England's Wayne McGregor, whose edgy, deconstructed vocabulary takes its inspiration from Paul Henley's pop score. New to the company is Serge Lifar's lovely World War II abstraction, "Suite en Blanc," to Lalo's enchanting music.

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