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Digital Program 02

Digital Program 02

Dwight Rhoden’s brilliantly physical and deeply felt LET’S BEGIN AT THE END returns following its success at the 2018 Unbound Festival. SF Ballet Soloist Myles Thatcher, known for his signature blend of innovative movement and social consciousness, creates a new work, COLORFORMS. Closing the program, Morris’ Sandpaper Ballet is a cleverly tongue-in-cheek piece exemplary of this choreographer’s signature musical sensibility.

*Note: LET'S BEGIN AT THE END and Sandpaper Ballet will be archival captures.

PROGRAM 02 TRAILER

Feb 11 – Mar 3, 2021

LET'S BEGIN AT THE END

Composers: Johann Sebastian Bach, Philip Glass, Michael Nyman
Choreographer: Dwight Rhoden

colorforms WORLD PREMIERE

Composer: Steve Reich
Choreographer: Myles Thatcher
Film Director: Ezra Hurwitz

SANDPAPER BALLET

Composer: Leroy Anderson
Choreographer: Mark Morris

Streaming access available beginning 6 pm on Feb 11.

View Program Book

View Casting

 

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415-865-2000
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BEHIND THE SCENES

On a bare stage, four female dancer leap right, right leg forward, left leg back, with right arm up and left arm horizontal
Two lines of dancers move behind two male dancers holding a female dancer’s hands as she balances on her right leg, left leg up
On a bare stage, a female dancer—legs apart, arms extended—lays on stomach across kneeling male dancer’s back; both look right
Two female dancers leap; two male dancers stand, right leg pointed, as one male dancer jumps, left leg up; all raise left arms
Male and female dancers squat slightly, one arm bent across body, other arm out horizontal; some arms point right, some left
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Sandpaper Ballet
Sandpaper Ballet
Sandpaper Ballet
Sandpaper Ballet
Sandpaper Ballet
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Program 02 Casting

*Denotes role debut in current production
‡Denotes role debut at San Francisco Ballet
†Denotes debut in current production
◊Denotes a dancer who is no longer part of the Company

LET’S BEGIN AT THE END
Scenic Design: Alexander V. Nichols
Costume Design: Christine Darch
Lighting Design: James F. Ingalls
Assistant to the Choreographer: Clifford Williams
Rehearsal Assistant: Ricardo Bustamante

World Premiere: April 26, 2018—San Francisco Ballet, War Memorial Opera House; San Francisco, California

The 2018 world premiere of LET’S BEGIN AT THE END was made possible by possible by Unbound Festival Presenting Sponsor Diane B. Wilsey.

Music: “Love Doesn’t End” from The End of the Affair by Michael Nyman, used by arrangement with G. Schirmer, Inc., publisher and copyright owner. Allemande from Partita No. 2 in D minor for Solo Violin BWV 1004 by Johann Sebastian Bach. Symphony No. 3 for Strings, Part 2 and Etude No. 2 from Etudes for Piano Vol. 1 by Philip Glass, used by arrangement with G. Schirmer, Inc., and Dunvagen Music Publishers Inc., publisher and copyright owner. “Time Lapse” from A Zed and Two Noughts by Michael Nyman, used by arrangement with G. Schirmer, Inc., publisher and copyright owner. Costumes constructed by Christine Darch. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments.

COLORFORMS WORLD PREMIERE
Costume Design: Susan Roemer
Lighting Design: Jim French
Director of Photography: Ricardo Campos
Editor: Ezra Hurwitz
Executive Producer: Christopher Dennis
Producers: Lauren Finerman and Lindsay Gauthier

World Premiere: February 11, 2021—San Francisco Ballet

Music: Variations for Vibes, Pianos and Strings by Steve Reich, used by arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner; conducted by Martin West, produced by Leslie Ann Jones, recorded and mixed by Leslie Ann Jones; assistant engineer and music editor, Dann Thompson; 2nd assistant and music editor, Sean Martin. Costumes constructed by S-Curve Apparel, San Francisco, California. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments.

Special thanks to:
San Francisco Museum of Modern Art and its Education and Public Engagement Department
Alexander Calder, 23 feuilles à l'écart, 1945; Trois disques (intermediate maquette), 1967; Big Crinkly, 1969 © 2021 Calder Foundation, New York / Artists Rights Society (ARS), New York.
HOWL by Julie Mehretu. Courtesy of the artist and Marian Goodman Gallery
Ellsworth Kelly, Courtesy of Matthew Marks Gallery
Ursula von Rydingsvardm, Czara z B?belkami, 2006, © Ursula von Rydingsvard, Collection SFMOMA
Tree Sketches by John-Paul Simoens
Allbirds
Mason Hsieh
Thomas Baker
Christopher Ouellette

Other filming locations include Golden Gate Park and Yerba Buena Gardens. Special thanks to San Francisco Parks and Recreation and Yerba Buena Arts and Events.

SANDPAPER BALLET
Staged by: Tina Fehlandt
Costume Design: Isaac Mizrahi
Lighting Design: James F. Ingalls
Rehearsal Assistants: Betsy Erickson and Tina LeBlanc

World Premiere: April 27, 1999—San Francisco Ballet, War Memorial Opera House; San Francisco, California

The 1999 world premiere of Sandpaper Ballet was made possible by The Bernard Osher Foundation, the Phyllis C. Wattis New Works Fund, and Philip Morris Companies Inc.

Music: “Sleigh Ride”,  “The Typewriter”, “A Trumpeter's Lullaby”, “Saraband”, “Balladette”, “Jazz Pizzicato”, “Jazz Legato”, “Fiddle-Faddle”, “The Girl in Satin” and “Song of the Bells” used by permission of Woodbury Music Company LLC of Woodbury, CT. (All Rights Reserved). Costumes constructed by Ann Beck Dance and Specialty Costumes, San Francisco. Fabric Screening by Dye-namix, New York, NY.