Program 5: Contemporary Voices
Artistic Director Helgi Tomasson
For tickets & schedule:

San Francisco Ballet
War Memorial Opera House
San Francisco, CA

RUN: March 9-19, 2017
RATING: 5 of 5 stars

March 19, 2017

In these three curated pieces, San Francisco Ballet explores a powerful coming of age story in Salome, the intensely sensual Fearful Symmetries, and a hopeful future in the compelling Fusion from Yuri Possokhov. This is a dynamic program, filled with expressive dancing and poignant choreography.

Fusion - San Francisco Ballet

Yuan Yuan Tan and Damian Smith in Yuri Possokhov’s “Fusion” at San Francisco Ballet. (© Erik Tomasson)

Choreographer: Yuri Possokhov
Composers: Graham Fitkin & Rahul Dev Burman

Delicate musicality infuses this melding of traditional and progressive movement. Enhanced with flowing costumes by Sandra Woodall, white robed men turn in casual fluidity, weaving with serene music and simple undulating torsos. The partnering in Fusion is unusual and creative, utilizing angled port de bras and subtle connections—a comforting hand or light twist of the shoulder. In a dramatic pas de deux, the ballerina darts through a wall of corps de ballet to her waiting partner shrouded in darkness, only to find herself alone, cast back into the light.

The steps have a gentle detail to them, rather like ornate filigree. James F. Ingalls’ lighting design brings the piece from soft twilight through the day, sliding gradually into shadow, with a precision that is reflected throughout. It is a restful piece that is elegant and quietly hopeful.

Salome - San Francisco Ballet

Dores André, right, and Aaron Robison in the world premiere of Arthur
Pita’s “Salome” at San Francisco Ballet. (© Erik Tomasson)

Choreographer: Arthur Pita
Composer: Frank Moon

Loosely based on the Biblical tale of King Herod and Herodias, it wavers on the border between theater and dance; as Ballet Master Katita Waldo pointed out in a pre-performance talk, rather than being driven entirely by the movement, Salome depends on sets, lighting, and costumes—they are not just a frame, but integral to the production, leading to the term “dance theater” to describe this type of structure.

An ominous, cinematic score washes across the stage, lifting billowing fog as a black limousine slides into view. Flanked by bodyguards, “the family” emerges, stalking downstage with eerie confidence. While the visuals in this ballet are stunning, at its core is the journey that Salome is forced to endure. She is unsure at first, clutching her gown, eyes darting in exploration and uncertainty. When the hostages appear, she draws on inner strength, her posture straightening, her reactions gathering an elevated domination as she tests her newfound power. When Salome embraces the physicality of her environment, explosions of petals shoot across the stage with deepening red hues, littering the stage in ever fluctuating rivers of blood hued ground, bringing to mind the “red” scenes in Hero, a Chinese film that used a similar cinematic technique. Salome revels in her position, until its inevitable conclusion drives her to question what she has become, leading to a chilling denouement that leaves the audience shivering as the fog returns, covering the glowing limousine as the curtain falls.

Dores André gives riveting performance as Salome, turning her from an innocent child-like girl through a horrific coming of age, revulsion, and ultimate maturing, using body language of how she walks and reacts to others. Aaron Robison’s John maintains a dignity tempered with outbursts of fiery rebellion against his captors, taking to the strongly grounded and primitive choreography with ease. Val Caniparoli’s Herod and Anita Paciotti’s Herodias have no dancing, using their presence and experience to guide them; the stillness adding to their cruelty.

Fearful Symmetries - San Francisco Ballet

Lorena Feijoo, right, and Luke Ingham in Liam Scarlett’s “Fearful
Symmetries” at San Francisco Ballet. (© Erik Tomasson)

Fearful Symmetries
Choreographer: Liam Scarlett
Composer: John Adams

Taken from William Blake’s poem The Tyger, this ballet is starkly contemporary, set on a black stage with geometric bars of white light that shift in patterns. Dancers trace the floor with pulsing energy, isolating joints and limbs for oscillating rhythm interspersed with snapping ferocious speed.

John Morrell’s post-apocalyptic charcoal gray costumes lend a futuristic, ragged feel as multi layered as the music. Despite the frantic pace, there is a sense of community between the dancers onstage, building suspense into a series of intimately sensual encounters under a rich soundscape. The interplay of the corps de ballet keeps the dancers in constant flux, each with a specific role to play, like looking through a powerful microscope. There is a give and take of control throughout the piece, which pairs well with Salome, although it is a darker expression of subjugation.