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Robert Carter's astounding career with Les Ballets Trockadero de Monte Carlo has pushed his body to perform physical feats beyond that of a steel worker on a daily basis for 25 years.
San Francisco Ballet had a triumph last Friday night. It was the best dancing, the best of everything so far this year, new pleasures of many kinds, in their stellar production of Balanchine's "A Midsummer Night's Dream" (1962).
San Francisco Ballet was back in the Opera House for a two-week run continuing through Sunday, with a pair of great mixed bills. Each was like a three-course meal, each piece a world unto itself, but linked like islands in an archipelago.
Just three months before his death, Paul Taylor, who for years refused to name a successor, surprised the dance world by naming Michael Novak, a company dancer for just eight years, as Artistic Director-Designate.
San Francisco Ballet is back in the Opera House, and they opened their season, Helgi Tomasson's 35th as artistic director, with a ballet that is sure to please.
San Francisco Ballet's Gala dances ticked off the boxes an Olympics judge might face: technique, style, artistry, showmanship, and musicality. Everybody gets an A.
Director Alla Kovgan's captivating bio-doc "Cunningham" (1919-2009) provides a hypnotic view of the fabled gay star dancer/teacher Merce Cunningham's choreography.
Former Smuin company dancer Rex Wheeler, a.k.a. Lady Camden, is rehearsing the lead role in "Santa Baby," a work created by late company founder Michael Smuin that will be the centerpiece of "The Christmas Ballet" LGBTQ+ Night on Thurs., Dec. 19.
"Stomp," the so-called "international percussion sensation," played A.C.T.'s Geary Theater in San Francisco for eight performances last week, and Out There and a lot of vicarious percussionists were in the house.
