Tag Archives: Cal Performances
Less than two weeks after Cal Performances brought the Nederland Dance Theatre’s exquisite dancers to Zellerbach Hall, Bay Area balletomanes reveled in the Shanghai Ballet’s 50-member, classically gifted company.
The Butterfly Lovers, a four act story ballet choreographed by Artistic Director Xin Lilli in 2001, showed-off the technical brilliance of the 34-year-old company and left no doubt that Chinese culture can be found in buoyant jetés and perfectly-matched arabesques.
The ballet’s synopsis dates to a fourth century Tang dynasty tale and suggests comparisons to Romeo and Juliet. Ill-fated lovers, secret identities, familial opposition, and more than one death provide obvious, but easy to comprehend concepts through movement and mime, drama. In this case, the final scene is not a funeral; it is resurrection, as the two lovers rise from the grave as shimmering butterflies. … Continue reading »
If it’s possible for a dance performance to cause tears of joy and dismay, shed simultaneously, then Nederlands Dans Theater’s Oct. 23 appearance at Cal Performances’ Zellerbach Hall did it.
Under the cyclonic force of former artistic director Jiri Kylian from 1975 to 1999, the Dutch company expanded to three entities (NDT I, II and III) and developed a breathtaking arsenal of more than 600 ballets choreographed by the likes of Hans Van Manen, Crystal Pite, Ohad Naharin, Mats Ek, William Forsythe and Kylian. Renowned for their exquisite, age- and curriculum-defying dancers (NDT II features young dancers; NDT III was a showcase for those over 40) the company swallowed classical ballet’s rigorous form and modern dance’s instinctive earthiness with equal command. The result — stunning performances that left audiences gulping and dance critics swooning — established an NDT performance as an opportunity to worship the infinite possibilities of the human form, bent into mesmerizing works by contemporary dance masters. … Continue reading »
Cal Performances’ fourth annual Fall Free-For-All is choreography on a massive scale. The all-day arts sampler spins into action on Sunday, September 29 with vivid expressions of creativity accompanied by everything from Body Music to 13th-century French pop tunes to a Duke Ellington tribute to Beethoven and more.
Adding to the dexterity, people attending this year’s event will navigate new routes due to construction near Zellerbach Hall. Spiraling from the Sproul Plaza hub, a perfectly timed, event-filled day of dance (and music, puppets, theater) will have the community flowing from the Cal Band’s Opening Fanfare to the final cascade of Theatre of Yugen’s stylized, Japanese comedy.
The dance within the metadance provides something-for-everyone counterpoints and a terrific opportunity to celebrate the universality of bodies in motion. There is no society or culture on earth that does not at some time, dance. Allowed the grand ballroom of an open field, the vast stage of an empty gymnasium — or even the narrow hallway between a living room sofa and Barcalounger — no child can resist a pirouette or a ferocious sprint climaxed by a final cartwheel or leap. As adults, we learn to tame our wild bodies and exuberant physical impulses for decorum’s sake. And yet, who among us will not smile at the sight of young souls whose inner ballet/jookin/modern dancers know no such boundaries? … Continue reading »
Like characters in an ancient Roman frieze, eight young boys assume motionless poses, then spring to pumping, rolling, spinning life in front of the Zellerbach Playhouse on the University of California, Berkeley, campus.
It’s a rehearsal, but in light of the fierce pride and near-divine determination in their expression — and exploding from their agile bodies — it impresses as so much more. They are AileyCamp dancers, they are men-to-be, they are special.
AileyCamp, organized in Berkeley by Cal Performances every year, is a national program based on the principles of Alvin Ailey, an African American son of a single parent who made his way to the pinnacle of the dance world as a performer, choreographer and founder of the Alvin Ailey American Dance Theater. Along the way, he developed an ambitious philosophy: circumstances do not define the human spirit, and children are often the best place to look in order to learn life lessons. Expanding on his ideas, and using the Horton technique — the modern dance methodology behind the fearless, muscular physicality of the Ailey style — he focused AileyCamp on communication.
What happens when you shake, stir and allow to mingle a music-savvy choreographer (Mark Morris), two earth-and-occasionally-ear-shattering composers (John Cowell, Igor Stravinsky), a marvelously matched foursome (American String Quartet) and a nimble jazz/pop/avant-garde trio (The Bad Plus)?
You get a mixed drink — and that’s exactly what Cal Performances’ Ojai North! 2013 festival served up on Wednesday night at Hertz Hall. Ojai North! continues through June 15.
The performance came amid a day saturated with sound and sights: a red fish blue fish concert in the campus’s faculty glade preceded; a screening of Salomé with live accompaniment followed. Poised on the first-day precipice of Northern California’s strong-arm extension of Southern California’s annual Ojai Valley music festival, much mention was made of Morris’s position as Music Director. The appointment pivots each year: Morris is the first choreographer to assume the role. … Continue reading »
Thirty-six years after Boris Eifman began honing his “dissident choreographer” chops as artistic director of Eifman Ballet of St. Petersburg, a three-show Bay Area premiere of Rodin at CAL Performances revealed that nothing has changed.
And yet, everything is different.
Eifman is no longer shocking his homeland’s ballet traditionalists; his dancers are complex, first-rate artistic tools; there’s even a government-supported “Dance Palace,” slated for completion in 2016 and portending the company’s bold, permanent future.
“My method, my philosophy of theater — I don’t change,” he said, in an interview prior to Saturday’s May 11 performance.
But that doesn’t mean he’s not tinkering with the steps. … Continue reading »
The almighty power of contemporary dance is alive and kicking in Berkeley through April 28, after which the Alvin Ailey American Dance Theater will pack up their four, richly textured programs and hoof it to the next tour stop.
Until then, it’s “get thee to the church of alpha men and women” in Zellerbach Hall. Feed your soul, feast your eyes and raise your inner flag (no matter how tattered) of patriotism. Artistic Director Robert Battle’s company sprang to life on American soil in 1958 and 55 hinge-bending, lateral-leaning, gravity-defying years later, the jubilee shows no signs of abating. … Continue reading »
Cal Performances 2013-14 season features a return residency for the Vienna Philharmonic Orchestra, the world premiere of Mark Morris’s Acis and Galatea (see video above), a celebration of Kronos Quartet’s 40 years, and an emphasis on Brahms, with performances by Yo Yo Ma, Emanuel Ax and Anne Sofie von Otter, as well as a host of dance, new music, theater, jazz and early music concerts.
“These are all my children,” said Director Matías Tarnopolsky, explaining why it was so difficult to choose which performances to highlight. … Continue reading »
Can a single-artist dance company become an ever-evolving, interactive, mobile museum?
That is the question, and the premise, of the Trisha Brown Dance Company’s revolutionary plan as the iconic, 76-year-old dancemaker retires her choreographic cap and becomes the company’s Founding Artistic Director and Choreographer.
As of February 2011 and after a series of minor strokes, Brown concluded 50-plus-years as a master creator of elegant physical vocabulary unfurled in magnificent metaphors of time, tasks and space.
Naming Diane Madden and Carolyn Lucas (long-time TBDC members since joining as dancers in the 1980’s) as Associate Artistic Directors, the company embarked in January on a three-year international “Proscenium Works, 1979-2011” tour. … Continue reading »
COLLEGE BOUND Berkeley Mayor Tom Bates and others want to create a “college-going” culture in the city. To that end, the mayor’s office, in conjunction with the Berkeley Alliance and UC Berkeley’s Center for Educational Partnerships is organizing the first city-wide College and Career Day on Friday. The idea is to help all students “visualize and prepare for a full range of post-secondary options through structural, motivational, and experiential college preparatory experiences.” More than 5,000 students will participate in city-wide events on College and Career Day. They will be encouraged to wear T-shirts with their favorite college logos, listen to their teachers describe their own paths to college, and various fun projects, such as a dorm room door decorating exercise. Mayor Bates will visit the King Child Development Center along with Oski the Bear, a school-wide assembly at Berkeley Technological Academy and a lunchtime rally at Berkeley High School. Details here.
Compelling dances result from simple, rare ingredients: fantastic dancers with bone-deep training baring their souls, and choreographers with dangerous love in every pattern, pairing, and pirouette. Add earthshakingly beautiful lighting, audacious or adorable sound scores, and costumes springing organically from the choreographer’s greatest aspirations — and, well, you might have a masterpiece.
Two of the works on HSDC’s docket rose close to attaining such majesty: Alejandro Cerrudo’s stunning Little Mortal Jump and King’s ambitious Azimuth. … Continue reading »
The return of the Joffrey Ballet to Berkeley was a joyful reunion as anticipation turned to renewed admiration for fans of the brilliant, 57-year-old, American dance company.
Until their January Cal Performances doubleheader at Zellerbach, Joffrey appearances on Bay Area stages had been far too rare; especially after the company’s 1995 move from New York City to Chicago and Artistic Director Ashley Wheater’s arrival in 2007.
Long a purveyor of supreme choreography and phenomenal dancers, vintage and avant-garde ballets have been — and, good news, still are — their mainstay. A change of leadership and hometown has left intact a dazzling 21st-century repertoire; immensely personal, singular dancers; and immaculately restaged classics. … Continue reading »
Exploding onto the main stage at Zellerbach Hall like the Fourth of July wrapped in black, white, red and green packaging, Mark Morris’s The Hard Nut made its triumphant return to Berkeley.
A three-year hiatus extended the production’s every-other-year tradition with Cal Performances. The last time Bay Area audiences boogied to Act I’s Gallop or swooned during the Nutcracker Ballet-inspired spoof-fest’s breathtaking duets and glorious ensemble machinations was 2009.
Although little has changed in the elaborate, 20-year old production created in 1991 during Morris’ stint in Brussels as Director of Dance at the Théâtre Royal de la Monnaie, audiences have. Expectations increase, rather than fall, when the economy slumps and the advent — some say onslaught — of technology raises the bar every time a production is remounted. The show’s big numbers (48 crew members backstage, 32 dancers, 20 pounds of confetti used in the snow scene) prove only that Morris wasn’t kidding when he said the production was not created to tour or to make money for the company. … Continue reading »