Tuesday night, San Francisco Ballet carved through time and space in Program 2. This is the first mixed bill of the season, and in an ode to contemporary ballet, the company looked sleek and versatile in the late Jerome RobbinsOpus 19/The Dreamer while molding themselves into taught and rhythmic shapes in Paul Taylor‘s Company B.


Maria Kochetkova in Robbins’ Opus 19/The Dreamer.

the author

Becca Klarin writes about dance. Her first stage role was at the age of four, where she dressed in a brightly colored bumble bee tutu and black patent leather taps shoes. She remembers bright lights and spinning in circles with her eleven other bees, but nothing more. Becca also has an affinity for things beginning with the letter "P", including Pizzetta 211, Fort Point, pilates, parsvakonasana, and plies.

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  • jerrycitot

    Do choreographers/designers/artistic directors ever go up to the top balcony and see how a work looks from up there, where I usually sit? I used to occasionally see Balanchine at the very top/back of State Theatre in the 70s, checking things out. The lighting for Ghosts was so dark and murky, that it was difficult to see who/what was going on, even from the Row A of Balcony Circle. No wonder the balcony was more than half empty on Wed. 2/10. And can’t they sell (or donate?) some of those top-of-the-house seats to local schools, both private and public, to try to get more young people to come to the ballet? I’m 62 and feel young at this old-geezer crowd — and incredibly the audience is even older (talk about Ghosts) on Sunday matinees.

    A performer I have enjoyed watching for last several years is Brett Bauer, still in the corps but I predict soon to be made soloist, and deservedly. Tall, strong, elegant, great partner, he’s the Conrad Ludlow of his generation. Sarah Van Patten continues to amaze me with her dancing and her looks of mystery — such talent, but often too self-absorbed to connect with the audience. Hansuke Yamamoto is another one to watch — soft quiet landings tell one a lot about a dancer’s training.

  • Becca Klarin

    Hi, jerrycitot! Thanks for your contribution above. Many choreographers, designers, and ADs move about the audience to get a feel for what the ballet looks like from multiple viewpoints, but companies always appreciate patron feedback. I’d recommend emailing them.

    Also, most companies and venues, including SF Ballet, have community matinee and ticket programs for youth. SF Ballet tried something new yesterday, in addition to their regular community matinees, in allowing “select San Francisco private, public, and parochial middle and high schools (in addition to other various Bay Area schools), to view a SF Ballet Community Matinee streamed live from the War Memorial Opera House into their classrooms. The free web streaming will take place on February 17 at 11:30am. The 75-minute program offering an introduction and behind-the-scenes look at the art form of ballet will include a performance by the Company featuring excerpts from George Balanchine