Your Ultimate Guide to Program 05
A Love Letter to SF Ballet’s Dancers
What Is It? A series of love letters to SF Ballet’s dancers. These three works, made by SF Ballet Artistic Director and Principal Choreographer Helgi Tomasson and internationally acclaimed dance makers Cathy Marston and David Dawson, were created with specific SF Ballet dancers in mind and reflect the magic that happens between artist and muse.
Who’s It For? Anyone who loves a modern update on a classical theme, picked up Ethan Frome in undergrad, or enjoys the pure thrill of watching elite athletes compete.
7 FOR EIGHT
What Am I Seeing? 7 for Eight does what the title says: it’s a ballet in seven sections for eight dancers created by SF Ballet Artistic Director and Principal Choreographer Helgi Tomasson in 2004. Its black-on-black color scheme, dramatic lighting effects, and shifting moods update the Baroque music for a modern era.
What Am I Hearing? Seven keyboard concertos by J.S. Bach written between 1729 and 1741. Six are played with a piano. One, played during a man’s solo, is performed on a harpsichord, as it would have been in the period.
What Should I Look For? Notice how the number of dancers on stage shifts and morphs throughout the ballet. The eight dancers seem to be able to make an infinite (or, rather seven) number of shifting groups, from solos, to duets, to trios, and full ensemble configurations. And notice how the ballet’s mood changes throughout: from yearning and reaching to playful and clever.
What Am I Seeing? British choreographer Cathy Marston’s unique blend of literature, movement, and emotion. Known in Europe for her narrative ballets inspired by literature, Marston decided to use an American story as the starting point for this ballet: Edith Wharton’s short story Ethan Frome. For those of us who never read Ethan Frome in high-school English here’s a quick synopsis: Married man in New England falls in love with his hypochondriac wife’s cousin—who also happens to be his maid.
What Am I Hearing? A mix of music from Amy Beach, Arthur Foote, and Arvo Pärt arranged by composer Phillip Feeney. Beach and Foote were both part of the “Boston Six,” a group of composers working in the late 19th and early 20th centuries in New England. Working at the same time as Edith Wharton, these composers were key to the development of American classical music.
What Should I Look For? Look for the way that the main characters’ movement is driven by their emotions—Marston starts her process more like a theatrical director, letting the character’s thoughts dictate the movement language. And watch the corps de ballet in this work; they alternately represent the cold and snow of New England and the central characters’ emotions.
What Am I Seeing? An example of physically emotional virtuosity by dancemaker David Dawson. Anima Animus is ballet pushed to every extreme; technique stretched to its outer limit. Playing with the idea of opposites—man-woman; black-white; lifted-grounded—this work nods to ballet’s past while pointing toward its future.
What Am I Hearing? Ezio Bosso’s Violin Concerto No. 1 “Esoconcerto.” Bosso’s score creates a sense of driving motion matched by the dancing.
What Should I Look For? The second movement and its virtuosic play between the two principal women and the four men. For the way that Dawson manipulates ballet technique: rarely is a dancer truly upright—everything is leaning, at an angle, off-balance. And for the wing-like gestures the dancers’ make with their arms, evoking flight.
Header Image: San Francisco Ballet in Tomasson’s 7 For Eight // © Erik Tomasson