By ministerial fiat, the troupe abandoned ballet for modernism several years ago, and if the fare at home is as challenging as Deborah Hay’s “Figure a Sea,” introduced here at Berkeley’s Zellerbach Hall last Saturday (Oct. 22) then Sweden has a national dance treasure on its hands. Behind the dancers looms a brilliantly lit (by Minna Tiikkainen) panel, suggestive of either a gray Nordic sea or a looming horizon. At the start, they spread out on the sides of stage and create a dizzying stage architecture, especially in one sequence in which members of the team face all four directions, recalling, for this viewer, similar groupings in the film, “Last Year at Marienbad.” For the next half-hour, the performers travel on demi-pointe, push away air, dip into plié, recline on the floor, hop, bend and saunter and the eye, greedy, to catch it all, inevitably fails. The witty false ending suggests that order is not always synonymous with finality; the last image, of dancers exiting like drops of water on a hot skillet, stays with you. [...] the producing organization erred by prefacing the dancing with “a continuity of discontinuity,” a turgid, illustrated lecture by Hay that , despite some alluring visuals, shed little light on the dance to come.
Cullberg Ballet Dazzles After 15-year Absence From Bay Area
By Allan Ulrich, San Francisco Chronicle: Entertainment
Sun, 10/23/2016 - 9:14am
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