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Yuri Possokhov’s “Fusion” also acknowledges the collision of East and West, but as pure dance where chest isolations evolve into American jazz. Unfortunately it, too, loses its way — though the leads, who dance with transcendent commitment, never do. (They include Frances Chung, Lauren Strongin, Yuan Yuan Tan, Lorena Feijoo, Jaime Garcia Castill, Luke Ingham, James Sofranko and Hansuke Yamamota.). Nor do they in the company’s reprise of Liam Scarlett’s “Fearful Symmetries,” which, in place of the excited chaos of last year’s premiere, had a tribal air of menace that was both combative and life-affirming. Set to John Adams’ “Fearful Symmetries” — “traveling music,” as the Berkeley composer calls this genre of his work — the dance uses boxing motifs and propulsive, prowling ensemble work to capture a generation on the edge. What Scarlett doesn’t nail are the music’s layers. The dance hews to the melodic line, rather than its architecture as whole. And it is visually less interesting than it could be.
The powerful fusion of form and content was left to Balanchine, Joseph Walsh’s portrait of the prodigal son of the ballet’s title was a riveting study of a young man in anguished, angry revolt against a foreboding father, It was propelled by the musical and spatial architecture of the movement itself, And the corps de ballet actually embodied the idea that “Diamonds,” rather than cold and hard, are — like the best dance — so luminous as to be almost invisible, SAN FRANCISCO mens grey ballet shoes BALLET..
Related ArticlesPhotos: Crufts Dog ShowThe huge Crufts Dog Show in Birmingham, England, showcased toy and utility dogs on Friday. More than 200 breeds are represented at the four-day show, the largest of its kind in this dog-crazy country. A livestream of the events can be found at www.crufts.org.uk. Birmingham is eight hours ahead of Pacific standard time. Early risers on Saturday can catch the crowd-pleasing “heelwork to music freestyle,” in which dogs dance with their owners (5 a.m. PST).
Jerry Leiber and Mike Stoller sure wrote some good songs, If you get nothing else from “Smokey Joe’s Cafe,” the musical revue now playing at Lafayette’s Town Hall Theatre, that part at least comes through loud and clear, And honestly, there’s not much else to get from it, There’s no dialogue, no story, no characters and no particular theme aside from songs by Leiber and Stoller (some of them with additional collaborators), In fact, there’s no particular creator credit, although the show was originally conceived by Stephen Helper, Jack Viertel and Otis Sallid, It premiered in Los Angeles in late 1994 and hit Broadway a few months later, where it ran for nearly five mens grey ballet shoes years..
The closest thing there is to a unifying structure is occasional reprises of “Neighborhood,” a relatively bland number but one that is, after all, about nostalgia. In director Lauren Rosi’s animated production, an energetic cast of eight breezes through almost 40 pop songs, including such well-known numbers of the 1950s and ’60s as “Jailhouse Rock,” “On Broadway,” “Kansas City,” “Charlie Brown,” “Spanish Harlem” (by Phil Spector and Leiber) and “Love Potion No. 9″ They often act out the songs themselves as self-contained dramatic vignettes, but they don’t portray characters that recognizably carry over from one song to the next.
Brian Watson’s set conjures a cozy street corner with a cafe facade, behind which the band is visible under the direction of Tania Johnson, There were a few rough patches with the backing band on opening night, especially with the guitar late in the show, but the dynamic vocal performances effectively drew attention away from any such glitches, Some songs suffer in comparison to their famous recorded renditions, such as “Poison Ivy,” “Yakety Yak” and even the impassioned closing number “Stand By Me.” Fortunately, there are mens grey ballet shoes plenty of knockout renditions in the mix, often on lesser-known tunes, Rosi and assistant director Madison Gerringer’s lighthearted choreography is a delight, full of smooth synchronized dance moves in the manner of ’60s singing groups and a lot of humor..
Natalie Buster delivers a sultry “Some Cats Know,” an entertainingly mercenary “Don Juan” and a saucy duet with the amusingly square Glen Riggs on “You’re the Boss.” Katrina McGraw packs a mean punch with “Hound Dog,” hurling Jamail Davis against the wall at regular intervals as if as payback for Davis’ aggressive rendition of another Elvis Presley hit, “Treat Me Nice.” Cadarious Mayberry delivers a sweetly funny “Dance with Me,” framed as the come-on he’s too shy to say to McGraw.
Reading this on your phone? Stay up to date on Bay Area and Silicon Valley news with our new, free mobile app, Get it from the Apple app store or the Google Play store, Jacqueline Dennis sings a seductive “Stay a While,” amusingly croons the sweet romantic ditty “Falling” while toying with three guys, and teams up with Buster for a scorching “Trouble.” Elizabeth Curtis builds the nightclub chanteuse’s ballad “Pearl’s a Singer” to powerful, passionate heights, and duets with Branden Noel Thomas on mens grey ballet shoes a touching medley of “Love Me” and “Don’t.” All four women belt out a forceful “I’m a Woman,” and Thomas brings the house down with the jubilant gospel number “Saved.”..