© Erik Tomasson and SFB 'Spring Rounds' reviews 'Magrittomania' reviews SFB 'Rodeo' reviews 'Rodeo' reviews Legate in reviews Hohenstein in reviews recent SFB reviews more Renee Renouf reviews Discuss this review (Open for at least 6 months)

Paul Taylor chose Richard Strauss as musical background for this first work specifically commissioned by San Francisco Ballet, premiered in Paris last July, staged by Patrick Corbin here in San Francisco. Santo Loquasto’s costumes suggest Fragonard or Watteau until you see the rib cage and backs of the women: Beau Peep in front, Florida seaside in back; the men’s blouses over tights suggest the musketeer. All sport soft shoes, needed with Taylor's dazzling litany gestures, phrasing and timing, abetted by Jennifer Tipton’s wonderful lighting suggestion of a bucolic springtime.

Taylor used theme, variation, repeated references in this ambiance- laden romp - if you can use that term for the dizzy multiple-speed, multiple turns required as much from the twelve-dancer corps as of Long and Molat. He’s also not about to forget principals are part of an ensemble, giving circles and diagonals for men, women and combined couples. Though jetes to the side, shooting gestures to the flies and the languorous stage rests are standard Taylor devices, Spring Rounds looks perennial,fresh, a satisfying addition to the company’s repertoire of openers or closers. I’d love to see company and Taylor conspire with a darker or melancholic work; to stretch the dancers’ dramatic capacities Taylor would be ideal.

Long obviously enjoyed her assignment, particularly being so gallantly partnered by Molat’s unfaltering politesse.

Magrittomania (2000)

Possokhov’s maiden voyage in ensemble choreography was unique in its first two seasons; this revival continues that impression. The man’s imagery is quite special, and his imagination quirks are well supported by the Beethoven snippets cum Yuri Krasavin's addition. Damian Smith’s debut was more dramatic as the proper European male in search than Roman Rykine's chiseled technical perfection. The Boada, Legate and Nedviguine pas de trois with Smith making it quatre to klezmer melodies remains a semi-startling, enjoyable exposition of male talent. I can just imagine how the Bolshoi men tore into these roles when it was mounted in Moscow. Tan tossed off her assignment as old hat; I almost wanted to see her sport her own bowler and one of Thyra Hartshorn’s black coats, enhancing the quirks provided by Kevin Connaughton’s lighting.

A stray thought popped up; whether, in some future program, Possokhov might assign Molat to the central role, recasting the woman in red to a like height.

Rodeo (1942)

The primary sign of Rodeo’s 64-year life, the Agnes De Mille creation for Ballet Russe de Monte Carlo in 1942 to its rousing Aaron Copland score, sets by Oliver Smith, costumed now by Stanley Simmons, is its loss of raw earth, apparent in the dancers with perhaps the exception of Cowgirl Tina LeBlanc and Head Wrangler Stephen Legate; his portrait of a cowhand is one of Legate's career bests. Everyone danced a polished performance. However I’d swear few, if any, has ever drawn water from a well, used an outhouse or the bushes, or spent a stifling afternoon in a house without air conditioning on a day when heat sent waves from cracked soil. Also missing were the original costume designs by Kermit Love, which Robert Joffrey so meticulously employed when the Joffrey mounted the ballet.
 

That said, the company acquited themselves very well. Rory Hohenstein as The Champion Roper conveyed energy with a particular edge, a believable leanness of a man used to the saddle; his tap dance was beautifully phrased, completed with exquisite pirouettes before the final cacophony of foot. Jonathan Mangosing was the rider whose swings induced giddy delight before nausea in his partner. Pauli Magierek was fully ready as the Ranch Owner’s Daughter. Tina Le Blanc reminded me of her Joffrey days, warming recollections of Beatriz Rodriguez in the role. The sense of Joffrey and ABT productions is subtly different and this production was directed by Christine Sarry, whom even Agnes de Mille admitted bested her as the Cowgirl, and staged by Anita Paciotti.

Interesting to see some corps members listed in all three rigorous ballets, Stephen Legate and Rory Hohenstein in two. The pairing of programs II and III provide a needed rest, with the up side being stronger energy. Historically, three a night was the lot of a corps member and frequently principals in the touring life of American-based ballet companies. With many ensembles now city-based, such demand has lessened, and it seems modern dance companies now demonstrate such touring practices. In discussing the relatively short careers of dancers, this is a strong factor, underscored with problematic performing spaces. Dancers, given energy and genes, lucky enough to have avoided such practices obviously can dance longer, though roles do shift.