San Francisco Ballet Announces 2017-18 Season Including Unbound: A Festival of 12 New Works by 12 Notable Choreographers. Season Highlights include The National Ballet of Canada's Presentation of Neumeier's Nijinsky, A Robbins & Bernstein Centennial Program, plus Works by Balanchine, Caniparoli, Millepied, Peck, Scarlett & Tomasson
San Francisco Ballet, long recognized for pushing boundaries in dance, has announced its 2017-18 Season program and schedule. This summer, SF Ballet will return to Festival Napa Valley for one performance only on Friday, July 21, 2017, accompanied by members of the SF Ballet Orchestra. In addition, this October, the Company will once again participate in World Ballet Day LIVE, a day-long streaming event (details to be announced).
The 2017-18 Season will continue with Nutcracker, which runs December 13-30, 2017 for a total of 30 performances. Following the Opening Night Gala on Thursday, January 18, 2018, the Repertory Season will consist of ten programs, from January 23 to May 6. The 2018 Repertory Season will culminate with a previously announced festival entitled Unbound: A Festival of New Works, conceived and planned by SF Ballet Artistic Director & Principal Choreographer Helgi Tomasson. The festival will take place from April 20-May 6, 2018 and will showcase 12 new works by 12 renowned choreographers. Unbound will be comprised of four programs of three ballets each, for a total of 17 performances, which will take the place of Programs 7 and 8 on the Ballet’s 2018 Repertory Season. As part of the festival, SF Ballet will participate in a host of new initiatives designed to showcase the organization’s commitment to moving the art form forward (see the festival section of this announcement for details).
“This season, I’m especially excited about Unbound, a festival of twelve world premieres by some of the most innovative and forward-thinking choreographers working today,” said SF Ballet Artistic Director & Principal Choreographer Helgi Tomasson. “This unique festival will offer a glimpse at the future of our art form and I’m very much looking forward to it. I’m also pleased to host The National Ballet of Canada, as they perform John Neumeier’s dramatic and acclaimed Nijinsky on Program 6 of the season.” He added, “2018 marks the centennial of the birth of master composer Leonard Bernstein as well as my mentor, Jerome Robbins. We will honor both artists with a special program, Robbins: Ballet & Broadway.”
Program 1 opens Tuesday, January 23 with the revival of Tomasson’s The Sleeping Beauty. Set to a score by Peter Ilyich Tchaikovsky, Tomasson’s version of the production was premiered by the Company during its 1990 Repertory Season. The original production, choreographed by Marius Petipa, premiered at the Mariinsky Theater in St. Petersburg, Russia in 1890. The first Sleeping Beauty was commissioned by the director of Russia’s Imperial Theaters, Ivan Vsevolozhsky, who wanted a ballet based on Charles Perrault’s fairy tale, La Belle au Bois Dormant (The Sleeping Beauty in the Wood). The original production, and many versions following it, are set in the style of the French court. Tomasson’s work is set in the 17th and 18th centuries in Russia, before and after the reign of Peter the Great. The production’s span of 100 years shows the growing influence of Western culture on the Russian court and this is evident in the dramatic shift in costume styles, from the prologue and Act I, to Acts II and III. SF Ballet’s production, in three acts, includes scenic and lighting design by Jens-Jacob Worsaae, with lighting design by Craig Miller. The production, last performed in full by the Company during its 2007 Repertory Season, was called “dazzling” by The New York Times upon its premiere.
Program 2, entitled Bright Fast Cool Blue, opens on Tuesday, February 13 and includes George Balanchine’s Serenade, Benjamin Millepied’s The Chairman Dances, and the SF Ballet premiere of Justin Peck’s Rodeo: Four Dance Episodes. SF Ballet first performed Serenade in 1952 and most recently during the 2015 Repertory Season. Set to Tchaikovsky’s Serenade in C Major for String Orchestra, the work was premiered by American Ballet (later New York City Ballet) in 1935 and was the first ballet Balanchine choreographed in America. The Chairman Dances is Millepied’s first ballet for the Company and was created for SF Ballet’s 2017 Opening Night Gala. Set to a John Adams’ score of the same name, the ballet features costume and lighting design, also by Millepied. This presentation will feature an expanded version of the original work for twelve dancers. Peck’s Rodeo: Four Dance Episodes, set to the music of Aaron Copland, is very different from the famed Agnes de Mille version (1942), which uses the same title and music. While de Mille’s version featured a strong narrative, Peck’s ballet is deliberately non-narrative and highlights the pure interpretation of movement. Rodeo: Four Dance Episodes is comprised of four movements and a finale and was premiered by New York City Ballet in 2015. Of the work, The New York Times noted, “Its effect on the audience is inspiring.”
Program 3, entitled Distinctly SF Ballet, opens on Thursday, February 15 and features Tomasson’s On a Theme of Paganini, Val Caniparoli’s Ibsen’s House, and a work to be determined. On a Theme of Paganini, set to music by Sergei Rachmaninov, features costume and scenic design by Martin Pakledinaz. The work premiered during the 2008 Repertory Season and a pas de deux from it was last performed during the 2015 Opening Night Gala. The Chicago Tribune called the ballet, “…a stately, elegant…work.” Val Caniparoli’s Ibsen’s House, set to the music of Antonín Dvořák, was premiered by SF Ballet during its 2008 Repertory Season. As a departure point, the ballet uses five plays by Norwegian playwright and poet Henrik Ibsen. Last performed by SF Ballet in 2013, it was called “a winning choreographic return” by the San Francisco Chronicle.
Program 4 opens on Tuesday, March 6 with the encore of Liam Scarlett’s full-length production of Frankenstein. A co-production between SF Ballet and The Royal Ballet, Frankenstein premiered in London in 2016 and was called “lavish” by The New York Times. Based on Mary Shelley’s Gothic novel, the work is less a horror story than a meditation on what it means to be human. Frankenstein, in three acts, features an original score by Lowell Liebermann, scenic and costume design by John Macfarlane, lighting by David Finn, and projection design by Finn Ross. SF Ballet presented the North American premiere of the work during the 2017 Repertory Season and The Mercury News noted that the production offers “…luscious performances, relentless drama and spectacular set design…”
The 2017 San Francisco Ballet premiere of Frankenstein was made possible by Lead Sponsors Bently Foundation and The Hellman Family; Costume Sponsor E. L. Wiegand Foundation; and Sponsors Ms. Laura Clifford, Stephanie and James Marver, and an anonymous donor.
Program 5 opens Tuesday, March 20 and is a tribute to legendary composer and conductor Leonard Bernstein and choreographer Jerome Robbins. This program, entitled Robbins: Ballet & Broadway, celebrates the 100th anniversary of the birth of both Bernstein and Robbins and includes four of Robbins’ works: Opus 19/The Dreamer, The Cage, Other Dances, and Fancy Free. Robbins’ Opus 19/The Dreamer is set to music by Sergei Prokofiev. Premiered in 1979 by New York City Ballet, the original cast included Patricia McBride and Mikhail Baryshnikov. The ballet was first performed by SF Ballet in 1986 and last performed during the 2010 Repertory Season. It has the feel of a dream half-remembered, as a male dancer interacts with the intangible woman of his dreams. Robbins’ The Cage, set to music by Igor Stravinsky, was premiered by New York City Ballet in 1951. First performed by SF Ballet in 1998 and last performed a year later, it’s a depiction of female, insect-like creatures who kill men in a primitive way. As The New York Times remarked, “Once seen, The Cage is not easily forgotten.” Robbins’ Other Dances is one of his famous piano ballets. Created in 1976 for New York City Ballet, the work was premiered at a benefit for the New York Public Library for the Performing Arts. Originally danced by Natalia Makarova and Mikhail Baryshnikov, the elegant work is set to four mazurkas and one waltz by Frédéric Chopin and is 18 minutes long. Jerome Robbins’ Fancy Free, set to music by Bernstein, was premiered by Ballet Theatre (later known as American Ballet Theatre) in 1944. The theatrical work was Robbins’ first ballet and is about World War II sailors on shore leave in New York City. Following the success of the ballet, it was translated into the musical comedy, On the Town—and eventually adapted into a movie. SF Ballet first performed the work during its 2007 Repertory Season and most recently during its 2008 Repertory Season.
Program 6 opens Tuesday, April 3 with the presentation of guest company The National Ballet of Canada. In addition to classical repertory, The National Ballet of Canada embraces contemporary works and encourages the creation of new ballets and the development of Canadian choreographers. Canada’s premier dance company will perform John Neumeier’s full-length Nijinsky, which was premiered by the Hamburg Ballet in 2000 and was presented in San Francisco by Hamburg Ballet during SF Ballet’s 2013 Repertory Season. Set to the music of Chopin, Robert Schumann, Nikolai Rimsky-Korsakov, and Dmitri Shostakovich, the work tells the story of the iconic dancer and choreographer, from his childhood at the Mariinsky Ballet to his career as a dancer and choreographer at Ballet Russes, to his mental breakdown during World War I. The work was hailed as “dynamic, rich and gripping theater” by The Washington Post. The National Ballet of Canada was the first company other than Hamburg Ballet to perform Nijinsky. The National Ballet of Canada last performed in the Bay Area during SF Ballet’s 2008 Repertory Season, in honor of the Company’s 75th anniversary.
Unbound: A Festival of New Works
SF Ballet has long been known for breaking boundaries in dance. This season, the Company presents Unbound: A Festival of New Works that includes 12 world premieres by 12 international artists including: David Dawson, Alonzo King, Edwaard Liang, Annabelle Ochoa Lopez, Cathy Marston, Trey McIntyre, Justin Peck, Arthur Pita, Dwight Rhoden, Myles Thatcher, Stanton Welch, and Christopher Wheeldon.
The festival will take place from Friday, April 20 to Sunday, May 6, 2018 over four programs of three works each, for a total of 17 performances. The festival schedule is as follows:
Unbound A: April 20, 8pm; April 22, 2pm; April 28, 8pm; May 3, 7:30pm; May 6, 2pm
Unbound B: April 21, 8pm; April 25, 7:30pm; April 29, 2pm; May 4, 8pm
Unbound C: April 24, 7:30pm; April 27, 8pm; May 2, 7:30pm; May 5, 2pm
Unbound D: April 26, 7:30pm; April 28, 2pm; May 1, 7:30pm; May 5, 8pm
Beyond the stage, SF Ballet will host a number of ancillary activities around the festival, with specific dates to be determined. These initiatives include:
- A Series of Live-stream Programs: In the summer and fall of 2017, SF Ballet will take audiences into the Ballet’s studios for a series of behind-the-scenes, live-stream programs that will highlight work by the festival choreographers. These programs will offer viewers an opportunity to meet the choreographers, experience the new works’ development process, and watch a rehearsal excerpt of each new ballet.
- A Dance Film Series: SF Ballet will commission a series of dance films inspired by festival works. The dance films will become the centerpiece of community pop-up events that will introduce audiences to the festival.
- Symposia: SF Ballet will host symposia of artists, academics, and critics who will examine issues critical to ballet in the 21st century.
- Unbound Opening Event: For the opening night celebration of Unbound, SF Ballet will host a one-time-only event featuring: a performance of festival new works, dance films, educational pop-ups, interactive installations, and a dance party.
For more information, visit sfballet.org/unbound.
During the 2018 Repertory Season, the Company will perform a total of 62 performances. Friday and Saturday evening performances are at 8pm. Tuesday, Wednesday, and Thursday evening performances are at 7:30pm; Saturday and Sunday matinees are at 2pm. The SF Ballet Orchestra will accompany all programs.
San Francisco Ballet gratefully acknowledges the following for their leadership support of Unbound: A Festival of New Works: David and Kelsey Lamond, Mr. and Mrs. John S. Osterweis, Yurie and Carl Pascarella, Denise Littlefield Sobel, Ms. Susan A. Van Wagner, and Miles Archer Woodlief.
David Dawson: Dawson is an associate artist at Dutch National Ballet and a prolific dancemaker. A former resident choreographer at Dutch National Ballet, Semperoper Ballet, and Royal Ballet of Flanders, Dawson has also choreographed for such companies as Boston Ballet, English National Ballet, Finnish National Ballet, Mariinsky Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, The Royal Ballet, Royal New Zealand Ballet, Royal Swedish Ballet, Scottish Ballet, Hungarian National Ballet, Staatsballett Berlin, and Vienna State Opera Ballet. Among his works are full-length productions of Tristan + Isolde, Swan Lake, and Giselle. Other signiﬁcant works include A Million Kisses to My Skin, Empire Noir, The Human Seasons, The Third Light, Morning Ground, Citizen Nowhere, The Disappeared, A Sweet Spell of Oblivion, Faun(e), The World According to Us, Styx, dancingmadlybackwards, and timelapse/(Mnemosyne). For his ballet The Grey Area, Dawson received the Prix Benois de la Danse award and was nominated for the UK Critics’ Circle National Dance Award. As the ﬁrst British choreographer to choreograph for Mariinsky Ballet, he created the Golden Mask Award-winning Reverence. He received the Choo-San Goh Award for The Gentle Chapters and Golden Swan Award nominations for Overture and 00:00. Dawson’s work for the 2018 Repertory Season is his first for SF Ballet.
Alonzo King: King has directed San Francisco-based Alonzo King LINES Ballet since 1982 and created works for Alvin Ailey American Dance Theater, Les Ballets de Monte-Carlo, Béjart Ballet Lausanne, Frankfurt Ballet, Hong Kong Ballet, Hubbard Street Dance Chicago, The Joffrey Ballet, and Royal Swedish Ballet, among other companies. Among his collaborators are musicians/composers Pharaoh Sanders, Zakir Hussain, Hamza El Din, Pawel Szymanski, Charles Lloyd, and Jason Moran. King’s training philosophy undergirds the programming at Alonzo King LINES Dance Center, which includes pre-professional training, and at Dominican University of California, a LINES-affiliated BFA program. Named a Master of Choreography by The Kennedy Center in 2005, King has received an NEA Choreographer’s Fellowship, a Jacob’s Pillow Creativity Award, the Irvine Fellowship in Dance, a Bessie Award, the Doris Duke Artist Award (for his contributions to contemporary dance), several Isadora Duncan awards, San Francisco Foundation’s Community Leadership Award, and the Excellence Award from KGO. Dance Heritage Coalition named him one of America’s “Irreplaceable Dance Treasures” and San Francisco Museum and Historical Society named him a “San Francisco Treasure.” King received honorary doctorates from Dominican University of California and CalArts. King’s work for the 2018 Season is his first for SF Ballet.
Edwaard Liang: Liang, a former dancer with New York City Ballet and Nederlands Dans Theater and artistic director at BalletMet since 2013, has an international reputation as a choreographer. His works are in the repertories of Bolshoi Ballet, Houston Ballet, The Joffrey Ballet, Mariinsky Ballet, New York City Ballet, Pacific Northwest Ballet, Shanghai Ballet, Singapore Dance Theatre, and The Washington Ballet. Born in Taipei, Taiwan, Liang trained at Marin Ballet and the School of American Ballet. He joined New York City Ballet in 1993 and was promoted to soloist five years later. In 2001, he joined the cast of the Tony Award-winning Broadway show Fosse and performed in “From Broadway: Fosse” in the PBS television series Great Performances: Dance in America. Subsequently, he joined Nederlands Dans Theater. He was a medal winner at the Prix de Lausanne International Ballet Competition in 1993 and won the Mae L. Wien Award, given by the School of American Ballet, that same year. Since becoming a choreographer, he has won numerous awards for his work, including the 2006 National Choreographic Competition. Liang’s new work for the 2018 Repertory Season is his third for SF Ballet; he also created Symphonic Dances and Finding Light.
Annabelle Lopez Ochoa: Lopez Ochoa has created works for more than 40 companies worldwide. After training at Royal Ballet School of Flanders in Belgium, she danced for 12 years, including as a soloist at Scapino Ballet, before focusing her energy solely on choreography. In 2003 the newspaper NRC called her a “rising star of the Dutch dance scene” and in 2007 she was invited to participate in New York City Ballet’s prestigious New York Choreographic Institute. Lopez Ochoa has choreographed for Atlanta Ballet, Ballet Hispanico, Ballet Nacional de Cuba, Cincinnati Ballet, Compañia Nacional de Danza, Dutch National Ballet, English National Ballet, Finnish National Ballet, The Joffrey Ballet, New York City Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, Royal Ballet of Flanders, Scottish Ballet, and The Washington Ballet, among other companies. Among the honors her work has received, Broken Wings was named one of 2016’s best premieres by Dance Europe; Sombrerisimo received Cuba’s Villanueva Award in 2015; A Streetcar Named Desire won the Best Choreography (Classical) award from Critics’ Circle National Dance Awards in 2012; and Replay won first prize at the Choreographers Competition in Bornem, Belgium, in 2002. Lopez Ochoa’s new work for the 2018 Repertory Season is her first for SF Ballet.
Cathy Marston: Marston trained in Cambridge and at The Royal Ballet School before launching an international career that has spanned more than 20 years. A former artistic director and Clore Cultural Leadership Fellow, she has created 50-plus works that have been performed in 10 countries. As an associate artist at The Royal Opera House from 2002 to 2006, Marston created a critically acclaimed interpretation of Henrik Ibsen’s Ghosts and a dance-opera, Echo and Narcissus, among other works. As director of Bern Ballett from 2007 to 2013, she developed a hybrid signature style, visible in her history-inspired Witch-hunt and her literature-based Ein Winternachtstraum, Juliet and Romeo, and Wuthering Heights. She brought new perspectives to old narratives in Three Sisters and Hamlet (for Ballett im Revier), Jane Eyre and A Tale of Two Cities (for Northern Ballet), Lolita (for Copenhagen Summer Ballet), and Blood Wedding for The Finnish National Ballet. In addition, Marston has choreographed for The Royal Ballet, Danish Royal Ballet, Ballett Basel, Danza Contemporanea de Cuba, English National Ballet, Ballett des Theater Koblenz, The Washington Ballet, Ballet Boyz, Graz Oper Ballett, Images of Dance, Ballet Central, The Royal Opera and Opera Australia among other companies. Marston’s new work for the 2018 Repertory Season is her first for SF Ballet.
Trey McIntyre: McIntyre is a choreographer, filmmaker, writer, and photographer and has been a freelance choreographer for more than 25 years, creating works for American Ballet Theatre, BalletX, Hubbard Street Dance Chicago, New York City Ballet, Queensland Ballet, Stuttgart Ballet, and The Washington Ballet. He began his career serving for 13 years as choreographic associate to Houston Ballet. In 2005, McIntyre founded Trey McIntyre Project, a world-renowned dance company that has now broadened its focus to include artistic ventures such as the documentary film Gravity Hero. His photographs and dances have been featured in various magazines as well as The New York Times and The Washington Post, and the U.S. Forest Service commissioned him to create a series of photographs commemorating the 50th anniversary of the Wilderness Act. He is working on two books of photography. McIntyre has received numerous awards, including a Choo-San Goh Award for choreography, a Lifetime Achievement Award from the National Society of Arts and Letters, and two National Endowment for the Arts grants for choreography. He is a United States Artists Fellow. McIntyre’s new work for the 2018 Repertory Season is his second for the SF Ballet; his first was Presentce for the 2017 Opening Night Gala.
Justin Peck: Peck is the resident choreographer and soloist dancer with the New York City Ballet (NYCB). He began choreographing in 2009 at the New York Choreographic Institute. In 2014, after the creation of his acclaimed Everywhere We Go, he was appointed as resident choreographer of NYCB. He is the second person in the institution’s history to hold this title. Peck has created over 10 ballets at New York City Ballet. In addition, his work has been danced by Paris Opera Ballet, LA Dance Project, Miami City Ballet, Pacific Northwest Ballet, Dutch National Ballet, Joffrey Ballet, and Houston Ballet. His collaborators include composers Sufjan Stevens, Bryce Dessner (The National), Dan Deacon; visual artists Shepard Fairey, Marcel Dzama, Jules de Balincourt; and fashion designers Mary Katrantzou, Humberto Leon (Kenzo, Opening Ceremony), and Dries Van Noten. In 2014, Peck was the subject of the documentary Ballet 422, which followed him for two months as he created NYCB’s 422nd original dance, Paz de la Jolla. In 2015, his ballet Rodeo: Four Dance Episodes won the Bessie Award for Outstanding Production. Peck’s new work for the 2018 Repertory Season is his second for SF Ballet; his first was In the Countenance of Kings.
Arthur Pita: Pita is a London-based choreographer who often collaborates on theater, film, and opera productions. He studied dance in Johannesburg, South Africa, and at London Contemporary Dance School, where he earned a master’s degree. His choreographic work includes The Ballad of Mack and Ginny for Edward Watson and Wendy Whelan; Run Mary Run for Natalia Osipova and Sergei Polunin; Facada (part of Solo for Two) for Osipova and Ivan Vasiliev; La Bala for Thiago Soares at Theatro Municipal do Rio de Janeiro; Casse Noisette at Paris Opera Ballet; and The Little Match Girl at DanceEast. He collaborated on Les Liasions Dangereuses and Saint Joan at Donmar Warehouse; Mappa Mundi and Women Beware Women at Royal National Theatre; La Bohème and Show Boat at Royal Albert Hall; Carmen at The Royal Opera House; and The Winter’s Tale at Royal Shakespeare Company, among others. His film work includes Ex Machina and Sunshine on Leith. Among his honors are South Bank and National Dance Awards for The Metamorphosis, and Olivier Award nominations for The Metamorphosis and A Dream Within a Midsummer Night’s Dream. Pita’s new work for the 2018 Repertory Season is his second for SF Ballet; his first was Salome, for the 2017 Repertory Season.
Dwight Rhoden: Rhoden is founding artistic director and resident choreographer of Complexions Contemporary Ballet, where he has been choreographing for more than 23 years. As a dancer, he performed with Alvin Ailey American Dance Theater, Dayton Contemporary Dance Company, and Les Ballets Jazz de Montréal, and in television specials and documentaries. He has choreographed for such companies as Alvin Ailey American Dance Theater, Aspen Santa Fe Ballet, BalletMet, Colorado Ballet, Dance Theatre of Harlem, Dayton Contemporary Dance Company, The Joffrey Ballet, Miami City Ballet, New York City Ballet, Pennsylvania Ballet, Philadanco, Mariinsky Ballet, Oakland Ballet, The Washington Ballet, and Zenon Dance Company. He has directed and choreographed for television, film, and theater, including So You Think You Can Dance, Cirque du Soleil’s Zumanity, and the feature film One Last Dance. Rhoden is resident choreographer at The Charlotte Ballet and has taught or served as artist in residence at Boston Conservatory, The Juilliard School, New York University, and the University of Mississippi, among other schools. His honors include a New York Foundation for the Arts Award and induction into the NYFA Hall of Fame and the Choo-San Goh Award for Choreography. Rhoden’s work for the 2018 Repertory Season is his first for SF Ballet.
Myles Thatcher: Thatcher is a corps de ballet dancer with San Francisco Ballet and a choreographer. After training at The Harid Conservatory, Ellison Ballet, and San Francisco Ballet School, he was named an SF Ballet apprentice in 2009 and joined the corps de ballet in 2010. As a dancer, he has performed principal or featured roles in many classical and contemporary ballets, including Paris in the 2015 film of Tomasson’s Romeo & Juliet for Lincoln Center at the Movies’ Great American Dance. Thatcher began choreographing while a Trainee at SF Ballet School and has created five works for the School. His In the Passerine’s Clutch premiered at SF Ballet’s 2013 Repertory Season Gala; followed by his Manifesto, which premiered as part of the 2015 Repertory Season; and his Ghost in the Machine, which premiered as part of the 2017 Repertory Season. In 2015, Thatcher also created Passengers for The Joffrey Ballet, Polaris for New York City Ballet, and Body of your dreams for the Rolex Arts Weekend in Mexico City. Thatcher was selected by Alexei Ratmansky to participate in the 2014–15 Rolex Mentor & Protégé Arts Initiative. In 2016 he was nominated for an Isadora Duncan Award for Outstanding Achievement in Choreography for Manifesto.
Stanton Welch: Welch is an Australian choreographer who became artistic director of Houston Ballet, America’s fifth-largest classical ballet company, in 2003. Prior to his appointment he danced with The Australian Ballet, where he rose to the rank of leading soloist, performed principal roles, and worked with internationally acclaimed choreographers such as Jiří Kylían, Nacho Duato, and Maurice Béjart. In 1995, Welch was named resident choreographer at The Australian Ballet. At Houston Ballet, Stanton has revitalized the company by bringing in new dancers, commissioning new works, and attracting a top-flight artistic staff. He has choreographed more than 20 works for Houston Ballet, including the full-length story ballets Giselle (2016), Romeo and Juliet (2015), La Bayadère (2010), Marie (2009; inspired by the life of Marie Antoinette), and Swan Lake (2006). In addition, he has created works for such prestigious companies as Houston Ballet, San Francisco Ballet, American Ballet Theatre, The Australian Ballet, Birmingham Royal Ballet, and Royal Danish Ballet. For his contributions to the world of dance, Stanton was awarded the Order of Australia (AM) in June 2015. Welch’s work for the 2018 Repertory Season is his sixth for SF Ballet; previously, he created Maninyas, La Cathédrale Engloutie, Tu Tu, Falling, and Naked.
Christopher Wheeldon: Wheeldon, an OBE and former dancer with The Royal Ballet and New York City Ballet (NYCB), is an associate artist at Sadler’s Wells Theatre. He served as NYCB’s first artist in residence and, subsequently, resident choreographer, and he founded Morphoses/The Wheeldon Company. Wheeldon has choreographed for such companies as American Ballet Theatre, Bolshoi Ballet, Dutch National Ballet, The National Ballet of Canada, Pennsylvania Ballet, and Royal Swedish Ballet. Recent works include Nutcracker for The Joffrey Ballet, American Rhapsody for NYCB, and Strapless, based on the scandal about the John Singer Sargent painting Madame X, at The Royal Ballet. His work includes opera, film (Center Stage), and Broadway’s Sweet Smell of Success and An American in Paris. His honors include Benois de la Danse Awards for Cinderella and The Winter’s Tale, an Olivier Award for Aeternum, the Leonard Massine Prize for A Winter’s Tale, and a Tony Award for Best Choreography and an Outer Critics Circle Award for Best Choreography and Direction for An American in Paris. He was awarded an OBE in 2016. Wheeldon’s work for the 2018 Repertory Season is his 10th for SF Ballet; previous works include Continuum, Rush, Within the Golden Hour, Ghosts, Cinderella, and Borealis.
Connecting with SF Ballet’s Online Communities
Follow us @sfballet—there’s a channel for everyone. SF Ballet has an expansive digital presence offering numerous ways to connect with the artists of the Company. Join our Facebook community and connect with the largest group of SF Ballet fans online (facebook.com/sfballet). Follow us on Twitter to join a global conversation about ballet (twitter.com/sfballet). Experience a backstage photographic journey from the perspective of the Company members on Instagram (instagram.com/sfballet). For unique behind-the-scenes perspectives and to learn more about the art form, browse Explore Ballet (sfballet.org/explore). Visit our YouTube page to see SF Ballet in motion (youtube.com/sfballet).
“Meet the Artist” Interviews and “Pointes of View” Lecture Series
SF Ballet will continue to present the entertaining and informative “Meet the Artist” series at Friday evening and Sunday Matinee performances. The 30-minute interviews with Company artists, management, and guests of SF Ballet begin one hour prior to performance; all ticket holders are invited to attend free of charge. In addition, SF Ballet will present “Pointes of View” lectures on Wednesdays during the season, which are free and open to the public. For more information about these and other education programs, visit sfballet.org.
Three, five, and eight program subscription packages to SF Ballet’s 2018 Repertory Season range in price from $85-2,592 and go on sale to the public on June 27, 2017. For information, please call Ticket Services at 415.865.2000 or visit sfballet.org. Phone hours are Monday through Friday, 10am to 4pm.
Individual tickets for SF Ballet’s 2018 Repertory Season, starting at $28, will be available online at sfballet.org or by calling 415.865.2000, beginning November 15, 2017.
San Francisco Ballet
San Francisco Ballet, long recognized for pushing boundaries in dance, has a history of making history. The Company has enjoyed a long and rich tradition of artistic “firsts” since its founding in 1933, including performing the first American productions of Swan Lake and Nutcracker, as well as the first 20th-century American Coppélia. SF Ballet is one of the three largest ballet companies in the United States and currently presents more than 100 performances annually, both locally and internationally. The mission of SF Ballet is to share its joy of dance with the widest possible audience—in its community and worldwide—and to provide the highest caliber of dance training in its School. Under the direction of Helgi Tomasson, the Company has achieved an international reputation as one of the preeminent ballet companies in the world. For more information, visit sfballet.org.