Joe Goode's Humansville

You have to hand it to Joe Goode. With “Humansville” --which the Joe Goode Performance Group premiered on Thursday night in the Yerba Buena Center for the Arts Forum in San Francisco— he breaks open the theatrical box with a highly effective dance theater installation with a style that few can pull off.

Presented as part of the Deeply Personal Series at Yerba Buena Center for the Arts, the hour-long, site-specific work integrates live dance, music performance and video –both pre-recorded and live--with a dazzling complexity. From a purely technical standpoint, it is perhaps Goode’s most ambitious work, sectioning part of the open Forum theater into four living dioramas, some of which display Austin Forbord’s video projections against Erik Flatmo’s scenic elements. Jack Carpenter skillfully manages the tricky task of unifying the individual scenes with lighting, and the whole space is bound loosely by the ambient score by Joan Jeanrenaud-- a founding member of the Kronos Quartet-- who plays the cello from a mobile platform that can be wheeled throughout the performing area.

Dispersed among the tableaux are the members of Goode’s current group of performers. Marit Brook-Kothlow and Felipe Barrueto-Cabello sit silently side-by-side opposite a gargantuan projection of a woman gesturing “come hithers” at us. Around the corner, Alexander Zendzian and Melecio Estrella, each in a separate tiled cell, fling themselves in synchronized desperation against the grey and blue walls. Dressed in powder pink 50’s crinolines, Jessica Swanson chats with her beau—another giant projection on the side of her wall-papered room, while in a red fuzz-lined alcove, Patricia West appears through a small window to gripe about a restaurant reservation while employing gestures that eerily mimic a weeping woman projected on a TV screen just below her.

As with any installation art there are multiple layers and points of entry. You don’t have to start at any particular place, and you needn’t stay through the end of each of the 7-minute “plays.” In fact, there’s a passageway behind the walls where audience members are free to wander and peek through cut-out windows into the back of each scene, adding both interactivity to the work plus the disturbing sense that we are all peeping Toms, constantly trying to see what the neighbors are up to. Did the audience members who craned forward for a glimpse under the ruffled valance of Swanson’s window realize that their image was being projected larger-than-life on the other side of the wall?

The combination of video with live action is highly persuasive. There is the sense of being immersed in a moment, but as with the installations of Bill Viola or Julia Scher, you also have a slightly creepy feeling that you’re being played. This is a risky and fascinating way to present questions about human nature, voyeurism, our understanding of others and of ourselves. How willing are we to cross over lines and put ourselves out there? When a projected woman holds out her hand and invites us to “touch me,” it takes several minutes for the crowd to figure out that someone has to walk forward and touch the projection before the sequence will continue, but once it becomes clear, the invitation evokes a kind of delight too, as if we’ve been wallflowers who are suddenly asked to dance.

When the piece moves into a more conventional presentation style, however, the momentum wanes. After about half an hour of roaming and peeping, of intersecting with lives that are only partially observed and never fully understood, the lights in the Forum come up, signaling the shift to the second part of the show and the audience sits down obediently in bleachers facing the blank pair of angled walls.

From here, the action moves into episodic dance segments that offer a prismatic view of some of the elements seen in the installations. The dancing is potent--particularly intense duets for Brook-Kothlow and Barrueto-Cabello. Nevertheless, we glean no further information about the personalities in the boxes and even with a final series of text snippets that address empathy and human connection, it’s not clear how to tie it all together. Plus it’s not nearly as much fun as walking in and around the action.

Even so, “Humansville” is a compelling journey. The overall look is beautiful, melding together all the production elements masterfully and if Goode’s aim is to provoke, to invite us to think, then he succeeds at that-- admirably.

This review first appeared in the Contra Costa Times.

KQED Profile: Erika Chong Shuch

"I want to take big questions of life that are the most intimidating and find a way to make them relatable."

--Erika Chong Shuch

Choreographer, director, dancer and teacher, Erika Chong Shuch crosses over boundaries in her works, which meld together theater, dance, science, poetry, music, video and mechanics to formulate multidisciplinary works of art-- in the truest sense of the term. Inspired by a wide range of subjects, from cannibalism to extraterrestrial intelligence, Chong Shuch nevertheless puts the focus on the drama of human experiences.

SPARK follows Chong Shuch from the earliest stages of the creative process, as she embarks on One Window, a work that explores our relationship to boundaries and confinement and which was created as part of Intersection for the Arts' year-long Prison Project.

A restless intellect, Chong Shuch dropped out of high school in San Jose at 17, yet still found her way into theater and dance at the University of California, Santa Cruz. After graduating, Chong Shuch danced in Seattle and in Berlin with Alex B Company and Sommer Ulrickson (Wee Dance Company) before returning to California to earn a master of fine arts degree at San Francisco's New College of California, where she also co-founded the multi-disciplinary Experimental Performance Institute.



Read more on the KQED Spark website.

Diablo Ballet: The Mirror, It's Not What You Think & Taj Mahal

Diablo Ballet may be facing an uncertain future, but one thing is for sure – the show will go on. As the company took the stage for its last home performances of the season at the Dean Lesher Regional Center for the Arts last weekend, co-Artistic director Nikolai Kabaniaev offered firm reassurances that the company will continue on next season.

Diablo Ballet may be facing an uncertain future, but one thing is for sure – the show will go on.

As the company took the stage for its last home performances of the season at the Dean Lesher Regional Center for the Arts last weekend, co-Artistic director Nikolai Kabaniaev offered firm reassurances that the company will continue on next season.

With the retirement of Ashraf Habibullah from the company’s board, however, the rush to close the gap in funding is on. Thus far, Diablo Ballet has reached only a fifth of its goal and the company still faces a July 1 deadline for raising the $500,000 necessary to mount its 2007-2008 season as planned, with the announced world premieres from Val Caniparoli, as well as Viktor Kabaniaev’s “Taming of the Shrew,” and Nikolai Kabaniaev’s “Once Upon a Ballroom.”

In the mean time, Diablo has another promising choreographer on its hands in dancer Tina Kay Bohnstedt, whose debut work, “The Mirror” premiered on Friday night. In this quirky episodic piece for two dancers, Lauren Main de Lucia dances a solo to her own reflection in a mirror, only to be joined --not entirely unexpectedly—by Matthew Linzer, a sometime partner, sometime competitor. Dressed alike in Loran Watkins’ pert black mesh and green skirts, they are nevertheless, anything but cut from the same cloth.

The style in which Bohnstedt works-- low squats, pitched torso and turned-in, crooked lines that break apart in key joints – bears some resemblance to that of European choreographers such as Jiri Kylian and Nacho Duato. Often this style is meant to communicate the rawness of internal emotions, the “realer-than-real” that lies under the polite exterior.

It’s an impulse that Bohnstedt leans toward, but never fully embraces, and the choice of Erik Satie’s introspective Gymonopedies and Gnossiennes gives “The Mirror” the air of a movement study rather than a fully completed thought. Percussive strikes of a limb melt into ripples through the body, in a way that tantalizingly implies a larger significance.

But as “The Mirror” continues through solos and duets, it remains unclear just where Bohnstedt is going with the piece. Is Linzer her masculine side, her antagonist, her dream lover? Any of these options could make for interesting explorations, but, though Main and Linzer look quite adorable side-by-side, not enough is established through the choreography of who they are to each other to explore any particular avenue.

Still, Bohnstedt’s work has promise. If her mastery of structure is still under development – the timing of Main’s final solo in silence, for instance, is a jarring miscalculation that seemed to confuse the audience – nevertheless, Main and Linzer create a tone that is both suitably playful, and yet also darkly serious.

The entire company looked at the top of their game though, in the sorbet flirtations of KT Nelson’s “It’s Not What You Think,” danced to songs by Bjork. Nelson’s spirited, offbeat jaunts look appealing on Diablo’s dancers, who are joined this year by Peter Brandenhoff, a former soloist with San Francisco Ballet, where he was notable for clean dancing and an intelligent approach to even the most minor roles.

He -- along with Linzer, David Fonnegra Jekyns Pelaez and Edward Stegge – makes a fine dreamboat, dallying with the flock of women-- Bohnstedt, Main, Mayo Sugano Cynthia Sheppard and Lauren Jonas-- whose pert curlicued steps match the curlicues on Amanda Williams’ foxy little 60s retro shift-dresses.

Also on the program was a reprise of Nikolai Kabaniaev’s “The Legend of Taj Mahal.”

This review first appeared in the Contra Costa Times.

KQED Profile: Mark Jackson

From Stanislavsky to the Bugs Bunny/Road Runner Hour --where movement intersects with drama is the primary interest of writer, director and actor Mark Jackson, one of the Bay Area's most exciting and original young playwrights.

A graduate of San Francisco State University's Theater Arts program, Jackson's brand of physical theater integrates the kind of theories of gesture and biomechanics that he studied under Gennadi Bogdanov and at the Saratoga International Theater Institute with a modern sensibility to create dramatic works that update age-old ideas of theater and present them in a fresh light to new audiences.

Jackson first came to widespread critical attention when he founded San Francisco's Art Street Theater in 1995. For Art Street, he created seven new plays in his nine-year stint as the company's artistic director, including I Am Hamlet, for which he won his first Bay Area Critic's Circle Award in 2002. Jackson's reinventions of classic plays, such as R&J and Io, Princess of Argos! drew inspiration from sources as varied as Greek tragedy and Shakespeare, but also honed a flair for perceptive commentary on contemporary society.

For his acclaimed Death of Meyerhold which premiered in 2003 at Berkeley's Shotgun Players, Jackson turned to the work of legendary and revolutionary theater director Vselovod Meyerhold to craft a powerful, and heady mix of dance, commedia, kabuki, and circus.


Read more on the KQED Spark website.

KQED Profile: Carlos Baron

A childhood in Chile marked by both the lyricism of Pablo Neruda's poetic legacy and the violence of the Pinochet regime flavors the experiences that poet and playwright Carlos Baron has brought to his writings over decades as an exile from his homeland.

After studying sociology and theater arts at UC Berkeley in the late 1960s and early 70s, Baron returned to briefly to Chile to defend the Salvador Allende government, for which he was imprisoned. Upon returning to the Bay Area, in 1975 he helped to found the La Peña Cultural Center in Berkeley, a cultural meeting ground for Chilean exiles, where he was the first Cultural Coordinator. As a poet and a professional storyteller, Baron's impassioned work has appeared throughout the world at festivals in Cuba, Chile, and the US.

Multiculturalism and Latino theater remain primary interests for Baron, who was also the theater and dance coordinator for the Mission Cultural Center and founder and first artistic director of San Francisco's Teatro Latino. As a professor of theater arts at San Francisco State University, Baron has not only helped to expand La Raza and multicultural studies at the university, but also directs the University's Teatro Arcoiris, or Rainbow Theater, a multicultural theater workshop.

Read more on the KQED Spark website.

Smuin Ballet: Schubert Scherzo, Romeo & Juliet Balcony Pas de Deux, Falling Up, Carmina Burana

Dancing without the 'Boss,' Smuin Ballet tearfully honors its founder

The crowd was oddly quiet, even subdued in the lobby of the Yerba Buena Center for the Arts before the opening of Smuin Ballet’s spring season. Ushers still smiled as they took tickets and handed out programs and old friends still greeted each other warmly but a muted uncertainty hung in the air as audience members took their seats for the company’s first public appearance since the death of their founder on April 23.

Read on the Chronicle site...

Sally Streets: 'I guess I've come full circle'

MORNINGS are quiet on the residential stretch of College Avenue in Berkeley, where Julia Morgan's elegant Craftsman-style theater rests under shady trees. From the outside, it seems impossible to imagine the few dozen dancers who are inside sweating up a storm in Sally Streets' morning ballet class.

Sometimes sharp, sometimes funny, but always plain-spoken, the 73-year-old Streets presides over the class -- a mix of regulars and drop-ins, older and younger, professional and non-professional -- with equal measures of earthy common sense and inspiration.

Nothing seems to escape her notice, from the tip of a head to the angle of a toe, but then, this is doubtless what has made her one of the Bay Area's most sought-after teachers. Perhaps her best-known student is her own daughter, Kyra Nichols, who in June will retire from after an unprecedented 33-year career in New York City Ballet.

Midway into the class, she stops all the action to give a correction to a dancer -- and it seems she's given this correction before. The young dancer is respectfully attentive, but obviously hesitant, and Streets goes on.

"You know," she says quietly, "you might just want to take what I say seriously. After 70 odd years or so, I think I know a thing or two."

Indeed, in the course of a rich career, Streets has been associated with a dizzying array of ballet companies, including New York City Ballet, Pacific Ballet, Oakland Ballet, San Francisco Ballet, Diablo Ballet, and her own Berkeley Ballet Theater, which celebrates its 25th anniversary this season.

Streets took her first ballet classes though at Dorothy Pring's Berkeley studio, only steps away from where she now teaches. "It was on Forest Avenue, just two blocks away," she says with a laugh. "I guess I've come full circle."

A professional from a young age, Streets joined the legendary company of Mia Slavenska's Ballet Variante right out of high school and toured with them for a couple of years.

"It was on an old school bus," she recalls, "with the costumes stored in the back of the bus in wicker baskets. When we got to our destination, we all had to help bring the costumes in, set up ironing boards, steam the costumes, then have class, then do the performance, then get back on the bus. Sometimes we had to ride all night to the next place or late at night to get to the next place. Oh it was all over the United States. For a year you were on the bus!"

After a few years, however, Slavenska's company planned a tour to Japan and Streets learned that she would not be taken along. "Oh, I was furious. I thought, 'I'll show you!' And I went and auditioned for New York City Ballet." She laughs in amazement, "And they took me. It was just luck, because someone had hurt themselves the night before and they needed a corps person. So I just dropped into New York City Ballet."

The young company was then under George Balanchine's careful development, but Streets saw a golden era marked by stars such as Maria Tallchief, Jillana and Tanaquil LeClerq. Even so, the pragmatic young dancer only stayed for a few years, giving ballet up when she met and married her husband.

Dance was never quite out of the picture. Even after Streets had her first two children, she ran a ballet school out of her basement. Nevertheless, after eight years away from the stage, when Alan Howard called her to say he was forming a company called Pacific Ballet, she still felt compelled to sneak out of the house without telling her husband where she was going. "I just knew he'd be very upset that I was going back to this thing that consumes your whole life," she says. "But once I got back to the barre, that was it, I became hooked again."

Under the direction of the charismatic Howard, Streets came back to the stage full force, starring in exotic ballets made for the company by Mark Wilde and John Pasqualetti and honing her teaching skills under ballet masters such as Richard Gibson, who now runs the Academy of Ballet in those same studios. When Pacific Ballet closed, she turned to the Oakland Ballet, dancing for another seven years under the direction of Ronn Guidi.

With the founding of Berkeley Ballet Theater in 1981, Streets finally began a career as choreographer and full-time teacher. For Diablo Ballet alone, she's choreographed 17 new works (she's the company's artistic advisor), and she's taught all over the world.

"You ask about it, I've been there," she observes. "It was a very rich time in ballet."

Reach Times dance correspondent Mary Ellen Hunt at mehunt@criticaldance.com.

WHAT: Berkeley Ballet Theater's spring season: "Cinderella" and "Nonet" by Sarah Marcus, "Le Cirque Magnifique sans Elephants" by Sally Streets, "But Not Forgotten" by Brian Fisher and "Heartfelt" by Damara Vita Ganley
WHEN: 7 p.m. May 18, 2 and 7 p.m. May 19, 2 p.m. May 20
WHERE: Julia Morgan Theater, 2640 College Ave., Berkeley
HOW MUCH: $15-$20
MORE INFO: www.berkeleyballet.org, 510-843-4689

This article first appeared in the Contra Costa Times.

San Francisco Ballet: Muriel Maffre retires

In a weekend full of dramatic performances, San Francisco Ballet concluded its season at the War Memorial Opera House on Sunday night with a superb gala performance in which Muriel Maffre bid farewell to the company after seventeen years as a principal dancer.

If emotions ran high for the final shows of the company’s 74th season, the atmosphere for Sunday night’s celebration for Maffre--surely San Francisco Ballet’s most respected artist-- was at a fever pitch. Audience members seemed to be conflicted—torn between anticipating the unrivalled feast of seeing Maffre reinvent six of her best-known roles, and dreading the knowledge that her commanding presence will no longer grace the Opera House stage.

The 41-year-old Maffre joined San Francisco Ballet in 1990 as a principal dancer and over her tenure she has danced over 75 ballets, creating 21 of those roles-- more than any other dancer currently in the company. Her range includes everything from classical and Romantic roles like Sleeping Beauty and La Sylphide, to Balanchine works such as Bugaku, or Rubies. Known for her dedication to her artistry, and an inventive approach to her work, she is, unsurprisingly, a favorite with choreographers such as William Forsythe, Mark Morris, Yuri Possokhov, Wayne McGregor and Christopher Wheeldon, and unsurprisingly, as she danced many of those choreographers’ works this season, they took on an extra poignancy.

“Boy, this is really going to hurt,” one audience member was heard to mutter as we waited for the show to begin. “Do we have to start?”

Time is inexorable however, and the lights dimmed as conductor Martin West led the orchestra in Philip Glass’s portentous thrum, which heralded the excerpt of Jerome Robbins’ “Glass Pieces.” This adagio duet juxtaposes a faceless line of automaton-like dancers, who gently sway across the back of a dark stage, against the spectacularly alien couple of Maffre, partnered by a steady Pierre-Francois Vilanoba. And as with most of the evening’s pieces, it offered not only a meditative beauty, but also a chance to examine Maffre’s carefully calculated approach to her work.

Maffre falls into the category of what is commonly called a dancer’s dancer, which is to say that the level of her work draws the awe and respect of her fellow professionals. The audience appreciates the seamless appearance, the cool composure and fluidity of her performance, while other artists marvel at how neatly and intelligently the trajectory and momentum of each limb has been plotted out.

If the pauses between ballets might have, under other circumstances, seemed overlong, instead they became moments to reminisce, to process what had just been seen, and to wonder what she would offer next.

Maffre entered next-- stretching a toe forward with each step-- in George Balanchine’s “Agon,” partnered capably by Tiit Helimets. It’s a pas de deux that can have the look of circus-like contortions, but Maffre and Helimets chose instead to press every bit of drama out from each step.

Perhaps unknown about Maffre, however, is that she’s a comedienne with a sharp sense of comic timing. Partnered by a beaming, boyish and utterly charming James Sofranko, she reprised the short-guy-romances-tall-woman duet, “The Alaskan Rag” from Kenneth MacMillan’s “Elite Syncopations,” complete with perfectly timed dodges and near misses, ridiculously froufrou hat and an exhilarated smile.

Maffre’s best roles, however, are her most considered pieces, some of which have been honed over years of reinterpretation. The mood shifted back to the introverted with the second half of the program which began with her unusual ugly-is-beautiful version of Michel Fokine’s “The Dying Swan,” set to Camille Saint-Saens. Her broken flightless bird with sadly faded grandeur created an unforgettable moment marred only by the shouts of an over-eager audience member at the very end. It brought the packed house to its feet-- not for the last time that evening.

Perhaps her greatest gift, however is that, Maffre-- whose degree from St. Mary’s College has fed her interest in arts curating—offers performances that not only challenge herself and her partners, but also invite, even demand, more complex thought from the audience. Though dancers are not always considered to be the “creative force” in a new work, her performance with Damian Smith in an excerpt from Christopher Wheeldon’s “Continuum,” proves otherwise. Inventive in phrasing and execution, Smith and Maffre reconstitute this slow-moving pas de deux to the music of Gyorgy Ligeti as a series of inquiries directed at us.

To close the program, Maffre was joined by principals Vilanoba, Pascal Molat and Kristin Long, as well as most of the corps de ballet in the first half of William Forsythe’s “Artifact II.” If the dancers seemed to inject an extra measure of abandon into the piece, Maffre’s charges through space and wild pinwheels of legs in mesmerizing kinetic designs looked as grand they always have, only reinforcing the realization that she has never given a performance of this or any other ballet at less than 110%.

As an artist, Maffre is still undeniably at the peak of her powers. She has hinted that her performing days are not at an end, and if the ten minute standing ovation she received at the final curtain is any indication, there will always be an audience hungering to take part in her next challenge.

This review originally appeared in the Contra Costa Times.