JumpFrog

Someone who's work and vast contributions will last forever. Rest in Peace. 

On 2017-05-09 at 3:25 PM, pherank said:

SFB has released an end-of-season video:

https://www.youtube.com/watch?v=70kCbfaNYvg

 

Emphasis on the younger generation. ;)

Just saw this now. Wonderful. Just so very proud of this company. Quality and class all the way!

On 2017-04-24 at 0:42 AM, pherank said:

 

The Future:

 

Yes yes yes indeed! 

17 hours ago, Josette said:

Speaking of Angelo Greco, I saw him in the last movement of Tomasson's Trio over the weekend, and he was unreservedly wonderful in presence, full-out dancing and then some - stopping on a dime but unrushed, precise, exciting, musical - and outshining his technically strong but dull partner. Greco can dance up a storm beyond the multiple pirouettes and high-flying jumps. 

 

Josette, I couldn't agree more. I think he is a great example of where dancers should be looking for inspiration. The tricks aren't enough. You need to be able to d-a-n-c-e and have something unique and striking about you. I feel that this company understands it better than most. It's so exciting to see the dancers find "themselves" on stage - to realize their potential and become their own artist. 

On 2017-04-09 at 10:02 PM, pherank said:

Short commentary about the SFB production by Maria Kochetkova for KDFC radio:

https://audioboom.com/posts/5756697-march-28-2017-the-state-of-the-arts

 

She specifically mentions the challenge of dancing the O/O roles as a short-statured person.

Thank you for this! I so enjoy hearing dancers discuss from their point of view dancing certain roles. Her shorter stature I'm sure has had a huge effect on her experiences just as a taller dancer probably the same. I hope we can learn to celebrate this diversity in ballet more and more. The more different the dancers the more variety in interpretation and for the audience I think this is an exciting thing. 

Well I wasn't planning on writing about the mixed program. Like Pinocchio my instinct was not to go. Why bother when paying this much for mediocre work? But the lack of dance in my life began messing with me and I took a couple girlfriends out for a night. Afterward, I didn't write here because I didn't really feel there was much to say. But I'm starting to think if I don't than no one else will either lol. In a nutshell it was alright.

Genus was interesting and if you saw his previous work you will enjoy it as it is definitely his "style". I actually saw this in Paris when it premiered so it was a treat for me. When I looked back in my journal I saw that the one thing I felt at the time was that the best part of it was the design. He clearly has a knack for working with great visual designers and Genus is a great example of "Mcgregor work" because in my opinion you will almost always get something visually striking, bold and thoughtful. Now I use the word thoughtful because his work is always very cerebral and theory based. The thing is that I'm not convinced that just because something is based in some kind of intellectual theory that it will make great dance work. At the end of the day people are paying - and by holy moly are they ever paying here - to see dance. Good dance. Great dance. Was it? The dancers really went for it and it's not fair obviously to compare them to the Paris cast but I'm just not convinced they had much aside from dense and physically exhaustive steps to work with. It was visually striking though.

Tarantella was fantastic. In fact I was most taken by Dylan Tedaldi. He was effortless in his dancing and so very charming. I love the work and am surprised it's not done more often outside NYC where I've seen it probably a dozen times. It never fails. Audiences love it and I'm told by dancers that it is obviously hard with its speed and cast of only two but that it is great fun. 

The Concert like Tarantella I have seen many times in NYC. The best part of it for me is being able to see the acting talents of the dancers. Dancing well isn't good enough. You have to have presence, timing, comedic/dramatic ability and intelligence to know when to use these skills and how. All in all I would say that the dancers did well. There was something about it that felt dated however. The ballet itself felt past it's prime. And this got me thinking. Is that the ballet or the performers? I'm sure there is no answer but the truth is when I've seen this ballet in New York it didn't feel dated. However when a ballet has been made on a company they often have a stronger grasp of it than others. Maybe it was the coaching? I just don't know. The Ballerina for instance - try as she might - she just didn't "get it" in the way she should have. We didn't know what she was trying to say. I think as an artist you have to make choices. The choices weren't clear here. As was pointed out to me afterward though the cast here was very young.

The other ballet of the evening was called Self And Soul. To be honest I can't recall anything about it. It came and went without much happening. At dinner with friends afterward while looking over the programs - with hastily scrawled notes all over mine haha - I saw it was a piece by Mr. Binet - the same one who did the art gallery work that we were so disappointed by in the fall. The one legible note was the single word WHY with a bunch of exclamation points. 

15 hours ago, dirac said:

Trump lost the popular vote by a huge margin - almost three million. Considering that might make you feel a bit better. 

 

Arts groups are seeking out those Republicans who may be open to pressure and persuasion. Most of these are in the Senate, but there are also some representatives, as well.

 

(Note that the article to which I linked is a few weeks old; Trump's budget, which proposes eliminating the endowments altogether, had not yet been announced.)

You know it actually does make me feel a little better dirac thank u! Here is to hoping this will be a mere blip in our countries history . . 

15 hours ago, pherank said:

SFB is going through a painful but inevitable changing of the guard. First the senior male danseurs have been retiring, and now many of the senior women. It's hard for those of used to seeing, and rooting for, a particular group of soloists.

The real question is whether Tomasson can maintain as high a standard of dancing and partnering as we've been used to in the last 10 years - in all styles of dance. That takes special people.

That is so true pherank. So much of leading a ballet company is managing precisely this. I have found it most impressive when directors find a way to nuture and give opportunity to up and coming dancers while also respecting and utilizing the more senior ones. It's hard to keep the changing of the guard from happening all at once. It probably won't ever be seamless. It's a tricky balance requiring intelligent leadership.

10 hours ago, kbarber said:

which "this" are you referring to? Pinocchio? I definitely wouldn't recommend it. Actually that's an understatement of my feelings about it.

I am looking forward to the mixed program.

Yes, Pinocchio -  the only ballet being performed at the moment. Hopefully the mixed program will be better. 

Did anyone actually see this? I'm just not sure I'm willing to spend that much on something I know I have very little interested in.

Feeling a bit down at the current offer of ballet to see in Canada during the coming year.

The more I read about Trump the more I need to remind myself that a vast portion of the population voted yes to him and his policies. The fact that the majority (it appears) supports a cut and more probably and elimination of the endowment for the arts is terrifying. I am completely lost on how to even attempt to fix that. How does anyone prove the value of art? 

Sounds like it was the result of reasons similar to any other industry (as it should be). Sometimes you are at the right place at the right time and sometimes a particular time calls you somewhere else. Saw the company perform during a long weekend to see the Celine show. Wishing all the best to all there. Hoping all dance companies continue to choose leadership based on who is best for the role at that particular time. 

What is up with San Francisco and promotions lately? I just wish I could be there ? Saw DeVivo in a Caniporoli work a few years ago and was impressed. Saw Frantziskonis as Olga and was also quite taken. Bravo to both. 

I agree -- thank u for this. We have to fight this all together.

Well I have had a few days to let my experience of seeing this ballet settle a bit and as I look over my notes scribbled on a plane ride back to Canada I can't help but notice that almost all my writing is in all capitalization lol. 

I'm not sure that I have ever felt so lucky to be part of an audience as I was when seeing Artifact by BB. I'm not sure I've even been in audience that was so engaged with attention from beginning to end. Even before the lights went down the feeing in the auditorium was electric. Everyone was truly excited for what was about to happen. 

And it was superb. If I had to narrow down one feeling that I think explains just why this work is so powerful I think I would say it is because there is such a clear and deep feeling of purpose throughout the whole thing. What blows my mind is that there is no story per say. It is an abstract work involving much high octane physical dance yes but also spoken word and very theatrical feeling moments as well. But every moment is so carefully constructed and full of intention. Every performer is so engaged and present and clear. I'm terrible at explaining myself but I just think it is such a gift to be able to make a work that speaks so clearly. And to do it without a well known story or characters to me is genius.

I have so rarely aside from the masters obviously seen a work so exquisitely constructed. So layered thoughtful and explicit in what it is trying to do. It never wanders it never waivers and I think this is a testament to the performers as well. 

I am sad not to have had a chance to see it multiple times. It is one of those experience that almost requires repeated viewing. There is so much to take in so much to savor and layers to explore. 

If anyone else saw it I would love to hear your thoughts on the curtain in Part 2. It was the only moment I felt I couldn't crack. 

All in all Having William Forsythe there is an enormous coup for BB. They should be proud. They are putting on work of WORLD CLASS quality by the best people. BRAVO BRAVO BRAVO ? 

I will for sure sandik. Too bad you won't be able to make it. We are only making it by the skin of our teeth and almost entirely thanks to air miles ?

On 2017-02-18 at 7:39 PM, Helene said:

 

 

 

Clark earned undergraduate and a master's degree while at PNB and is one smart cookie.  I will miss her dancing."

Indeed a smart cookie. I have so much respect for dancers able to get academic credentials at all let alone while dancing lol. To be a dancer requires intelligence absolutely but academic smarts is imo just a different thing. For someone to have an ability for both is really rather amazing. A great future ahead of her I think. 

Fantastic. Congrats to all. What an exciting time and company. Can't wait to see Artifact soon. I've been looking forward all year.

I'm not really sure what to make of this programming. There is just so much that are repeats? 

I am excited for Emergence because I saw it in Seattle and really enjoyed it. Always good seeing the company a piece was made on dance it.

I love Sleeping Beauty and will be curious as to how the production compares to others. Would love to one day see the POB dance it as referenced earlier. 

Havent seem Nijinsky but have seen enough of his other work to assume it will be very very long and very very serious.

I feel like I just saw Winter's Tale and don't particularly want to see it again.

I refuse to suffer through the art gallery ballet one more time but find hope in the Peck work. I find his stuff thoughtful and musical. 

The Robert Lepage looks quite interesting as an idea at least and I've heard more people than I can count claim Four Seasons as a masterpiece. 

Definitley won't be getting season tickets. Will prefer to just purchase tix for the small amount I haven't seen or I think looks good. 

On 2017-02-07 at 4:27 PM, pherank said:

"If innovation jolts people out of their comfort zones - and I saw other people wincing at the lights too - is it a good thing?"

This conversations is so interesting to me. I recently had a similar one with a close friend who is a major opera and ballet fan. There seems to be an increase in what some would call "gimmicky" (while others would claim "inventive") choreography these days. I can't help but think back to the major choreographers of the last century and all they did with the human form.

I think audiences are growing a bit sick of certain gimmicks that choreographs use under the disguise of being inventive. For example props that don't add anything, lighting as referenced above, or even choice of venue ("Lets present this ballet in a train station..won't that be so inventive and unique").

I think it is one of the reasons I enjoy Peck's work. I'm not a huge fan but I have to say i respect it. Same with Ratmansky. It's thoughtful and inventive and uses the human form in a way that I think speaks to audiences. If more people could trust the human body and all it's limitless potential I think we would see better work. But not enough do. So it's all projection screens and site-specific work in a non-traditional performance space. As Miranda Priestley said so succinctly "Groundbreaking".

So happy for this. Enjoy him onstage so much. Congrats to Angelo.

19 hours ago, pherank said:

Looks like  Yuan Yuan Tan and Aaron Robison are back in the Optimistic Tragedy lineup - for Feb. 3 and 5:

https://www.sfballet.org/season/casting

 

Excellent news. Can't wait. 

Also hernando's hideaway thank you for your write ups. I agree with much of what you see especially the glitter tanks on the men in Pas/Parts. However pherank I too saw Pas/Parts last year but actually really enjoyed the music. I found it inventive. I just love his choreography. I wish I could see it more but I'm in Canada most of the year and they don't do much. Le sigh.

They seem to do a fair bit of midseason repertoire editing here. Odd. Is that every season?

Did anyone actually see this piece? I hope it's not like that gala work from last season or the art gallery installation ?

Can't wait for Tarantela though. I here the mcgregor piece is basically chroma with darker lighting.

This is such exciting news! Well spotted mom2. I also agree with sandik that this is both great for him and great for the company. He was a wonderful dancer and is a very gifted choreographer. I particularly love all he did in Portland. I think he will be a formidable leader for this company. 

Well, things are now starting to make sense.