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The immersive three piece set boasted an eclectic and dazzling bill that spanned genre, style and theme, keeping audience members — as well as the dancers — on their toes.
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As her final performance following a 20-year tenure at the San Francisco Ballet, the production was a celebration of Van Patten’s venerable career, encompassing a medley of her most exemplary roles.
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On March 5, audience members filed into Zellerbach Hall to watch a company whose reputation is synonymous with excellence. Presented by Cal Performances, the Joffrey Ballet showcased a riveting program that spanned genre, mood and style.
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SF Ballet’s latest is particularly charming and inviting, sure to offer riveting entertainment for everyone.
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In an interview with The Daily Californian, Jeraldine Mendoza and Dylan Gutierrez, two company artists in The Joffrey Ballet and romantic partners outside of it, exalt the pathos of dance.
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On the surface, ballet and comedy do not immediately go together. Yet, the Trocks made this combination seem only natural, artfully leaving the audience with both laughter and gender-bending food for thought.
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The triple bill program pushed the limits of ballet, highlighting the talent of its Company with intricate choreography that thrived in its poignant display of three distinct narratives.
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The grand spectacle of “The Nutcracker” — of the glittering costumes, lavish production design, impossibly difficult yet effortlessly executed movements — kindles a rare sense of pathos. One that lingers long after the intermission and settles in on the drive along the Bay Bridge.
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The film serves as an homage to San Francisco, exploring the beauty of connectivity during a time full of fear and isolation.
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“It’s so easy to just want to hibernate and just say wake me up when it’s over,” Tweeddale said. “But we refuse to do that. We will not do that.”
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