Joan Lazarus is a hero in the Bay Area dance community, and it’s time for the Bay Area dance community to be a hero to Joan. Partly because she is a delightful person, but mostly because for twenty years (20!) she has provided a stage and a showcase for emerging choreographers and dancers via the annual WestWave Dance festival.
Because of the nasty funding cutbacks that have been going around, WestWave is having a hard time finding funding for the 2012 season. To date, the festival has found none. Zero. Zilch. Perhaps we can all pitch in a little something to show how much we appreciate WestWave – and Joan?
Click the link below to read Joan’s flyer and learn how to join the community of support for this amazing resource. Thanks!
Oakland Ballet Performs Graham Lustig’s The Nutcracker Paramount Theatre, Thursday, December 23, 2010
A new dance company is like a box of chocolates: You don’t know what to expect, so you have to just give each piece a try and hope it’s a tasty one. So it was with Graham Lustig’s The Nutcracker, a bonbon-themed version that marked the eagerly anticipated premiere of the newly reincarnated Oakland Ballet Company. We all showed up and hoped for the best; happily, Lustig and Oakland Ballet delivered a sweet treat for all to enjoy.
Artistic director Lustig sets his Nutcracker in 1915, a time period that lends refinement to the Act I party. Hewing to tradition, the party features pastel Edwardian costumes, formal dances and buttoned-up kids who are required to wait patiently as gifts are stacked before them. Naughty Fritz torments his sister, Clara, with a dead rat and, of course, breaks her Nutcracker doll, laying the groundwork for her dream. And it’s in the dream where Lustig works some very enchanting magic.
Children dressed as rats wield forks and knives against the toy soldiers in a battle that leads not to massive rodent carnage, but culminates in an act of mercy by Clara (beautifully danced and acted by professional ballerina Stephanie Salts), who earns the esteem of all by sparing three mice from the Nutcracker’s sword. Clara’s reward is a handsome cavalier (Connolly Strombeck) and a trip to the Land of Sweets by way of the Frozen Forest, a snowy stand of birches inhabited by Snow Maidens and fluffy dancing snowballs who stole the show (surely to the great pride of the children who leapt around in those impossibly plump costumes).
Rather than a King and Queen of Snow, Lustig has Clara and her cavalier perform the pas de deux in the forest. Because Clara is played by an adult, the dance takes on a romantic sensibility and develops the theme of Clara as a girl on the edge of womanhood, which works very well—it gives Clara an arc that continues through the entire ballet, rather than making her a passive observer of the wonders of Act II.
But Lustig’s Act II is still a girl’s paradise, a brilliant and joyous world inhabited by dancing peppermints, frolicking bonbons, clowns and confectioners. Children play all of those roles, adding their natural, unwitting wit to the performance. Professional adults take on the Spanish, Arabian and Russian dances, as well as an elegant German pas de trois that substitutes for the familiar French/Shepherdess/Marzipan dance.
Complementing the festive mood Lustig has created, Zack Brown’s sets re-create a sunny garden with a stone wall (just right for the little ones to peek over and around), and his ruffled, sparkly costumes surprise and delight the eye as pastels of the party give way to petal pinks, leaf greens and baby blues, vibrant red, turquoise and gold. Music director Michael Morgan led the Oakland East Bay Symphony through a smooth performance of the score.
The party scene would benefit from more dynamic storytelling, but Sarah Bukowski, as Mrs. Stahlbaum, enlivened it with her lyricism and charisma, which were also put to good use in her acrobatic Arabian dance. Jekyns Pelaez squired Rachel Speidel Little as the Sugar Plum Fairy, while Oakland Ballet Company veteran Denise Schmalle was a standout in the Spanish dance and the Waltz of the Flowers.
As Clara, Stephanie Saltz was tasked with carrying the entire story, and she came through with her superb technique and equally fine acting ability. When she was onstage, the eye was drawn to her, and she projected the emotions of her character clearly without miming (which kids without ballet training wouldn’t understand anyway). Thanks to excellent chemistry, she and Strombeck conveyed delight in each other’s company, so vital to making the story fly.
It is something of a logistical miracle that the bicoastal Lustig (who has other projects going in New Jersey as well) was able to pull this production off at such a satisfying level after joining the company only in fall of 2010. As he gets to know the Bay Area dance community, he will be able to develop a company of consistently superb dancers who can bring every aspect of his production fully to life. Judging from the cheers of the audience, the community will be thrilled to see Oakland Ballet Company back on stage soon.
Contra Costa Ballet’s Story of the Nutcracker and Mark Foehringer Dance Proejct’s Nutcracker at Zeum Friday, December 3, and Sunday, December 5, 2010
Countless kids get hooked on The Nutcracker the first time they see the Snow Queen bourrée onstage in a cascade of sparkles, and we—I mean, they—face dreadful withdrawal symptoms (lethargy, pique, bitter loss of illusion) if they don’t see The Nutcracker every year for the rest of their lives. But a full-length Nutcracker is a big commitment for a tot—sitting through that tedious grown-up party is a lot to ask before delivering the queen and her retinue.
That’s where little-kid-friendly productions come in: Ballet’s gateway drug, these hour-long introductions hit the highlights of plot, costume and music, whetting young appetites for the Nutcracker habit that’s sure to follow. And Contra Costa Ballet’s Story of the Nutcracker (at the Lesher Center for the Arts, Walnut Creek) and Mark Foehringer Dance Project’s Nutcracker at Zeum are just waiting to turn Bay Area children into happy Nutcracker heads.
A twenty-year tradition, Story of the Nutcracker has introduced a generation of little ones to the holiday tale. Clocking in at one hour, with no intermission, this production honors the classical tradition with waltzing parents (mercifully shortening that pesky party to a few minutes), a full mouse battle, the international dances, the Waltz of the Flowers, and the grand pas de deux. The taped score is necessarily whittled down as well; musical transitions could be smoothed out here and there, but all of the famous passages are included.
Few, if any, families read E.T.A. Hoffman’s original story to children, so a guiding hand is a big help in identifying the characters and making Victorian culture relevant to today’s youngsters. Narrator Marlene Swendsen, herself dressed in period flair, ably leads children into the story (the narration doesn’t introduce the cultural dances, so parents may want to tell kids what they’re seeing) and wrapping it up at the end.
Most of the roles are danced by Contra Costa Ballet students, notably the talented and charismatic Alicia Wang as this year’s Clara. The school’s youth company performs the Ribbon Candy and Flowers ensembles, with the statuesque Kristen Isom in the plum role of the Rose. Superb local professionals play lead roles and cavaliers: this year, it’s John Segundo as King Mouse and Chinese Lion, Katarina Wester as the maid, Diablo Ballet’s Tina Kay Bohnstedt as the Sugar Plum Fairy, and from Company C Contemporary Ballet, Robert Dekkers as her graceful Cavalier, Taurean Green as Toy Soldier and Trepak, Edilsa Armendariz in a beautiful turn as Arabian Coffee, Kristen Lindsay as the Ribbon Candy lead, and Company C’s artistic director, Charles Anderson, as the mysterious Drosselmeier.
Across the Bay, Mark Foehringer Dance Project brought its Nutcracker at Zeum back for a sophomore run after a successful premiere in 2009. Fresh, colorful and inventive, this version gets a lot done with a cast of just 17 dancers, who manage miraculously quick costume changes in order to pull off multiple roles.
Condensing the story into a fast-moving 50 minutes, Nutcracker at Zeum makes a few tweaks for the sake of silliness and celerity: Mother Ginger and her rambunctious Kinder bring Drosselmeyer a gingerbread house; when the Mouse Queen sneaks in and nibbles on it, the annoyed toy maker and his nephew ship her off to Siberia. Naturally, the Mouse King comes looking for the missus, and the ensuing chaos sweeps up everyone from little girls with cupcakes on their heads to Clara in her pretty pink dress and Chinese Tea in a rainbow unitard.
The small stage at Zeum, a popular children’s museum near the Yerba Buena Center for the Arts, demands inventive staging, and Foehringer uses every inch of the house, including the aisles, to his advantage. Fortunately, the space is large enough to include the eight-piece Magik*Magik Orchestra, playing Tchaikovsky’s score as orchestrated by Oakland East Bay Symphony music director Michael Morgan. As energetic as the performance, the live music enriches the show—and kids’ theatrical education—immensely.
A superb cast lays a foundation of fine dancing beneath the lighthearted fun. Brian Fisher, Chad Dawson, LizAnne Roman, Taylor Ullery, Juan de la Rosa, Jetta Martin and Jaclyn Stryker play the major characters (and some of the minor ones); as a group, they’ve danced for some of the world’s best ballet and contemporary companies, and it’s easy to see why. Young dancer Thomas Woodman plays supporting roles, and two casts of kids charm alternate as sweets and soldiers. This is just the beginning for Nutcracker at Zeum, so we may well see them in the grown-up roles someday.
Foehringer Dance Project’s Nutcracker at Zeum continues through December 19:
Saturdays 11 a.m., 2 p.m., 4 p.m. and Sundays 11 a.m., 2 p.m.
Zeum, 221 Fourth Street (@ Howard), San Francisco
$25 BrownPaperTickets.com or mfdpsf.org
In just about every family, the senior generation passes holiday traditions on to the younger folk, who update here and there to keep the dusty old rituals relevant. The Smuin Ballet family is no exception: In 1995, Michael Smuin created the popular The Christmas Ballet, with its signature mix of classical ballet, jazz and cabaret numbers, and each year the company refreshes the show with a couple of new pieces. The result is consistently joyous, elegant and inviting—though perhaps it’s time for the kids to shake the holiday tree a bit more than usual.
A packed house welcomed The Christmas Ballet to the Lesher Center for its season launch on Friday night. The show began as a holiday show should: With the first strains of the Magnificat, the women doffed their colorful capes, and one immediately felt the comfort that traditions bring and the sense that all would be right with the world, if only for the next two hours.
Act I: The Classical Christmas, consists of 16 pieces danced to masses, carols and classical instrumentals that will be familiar to Christmas Ballet fans—Mozart’s Domine, the French carol Noël nouvelet, “Sleigh Ride” and “Deck the Halls.” New to the mix is “Carol of the Bells,” a world premiere from Smuin choreographer in residence Amy Seiwert. Jane Rehm and Travis Walker were up to the piece’s fleet footwork, with the company serving as a corps of graceful snowflakes behind their pas de deux. Ably and happily performed in the customary all-white costumes and backdrop of gathered white drapery, this year’s Classical Christmas sets a warm and spirited mood.
The ever-irreverent Act II: The Cool Christmas, rang in with 17 more numbers—all performed in red costumes with red framing around the stage—including favorites like Ryan Camou’s soulful solo “Drummer Boy”; the amusing “Blue Christmas,” in which dancer “groupies” fawn over a hip-swinging Matthew Linzer as Elvis; and “Santa Baby,” danced with sultry élan by Robin Cornwell. Erin Yarbrough-Stewart and Jonathan Powell exuded palpable chemistry in their enchanting “Baby, It’s Cold Outside,” while Shannon Hurlburt earned the loudest applause of the evening for his self-choreographed solo “Bells of Dublin,” an athletic Irish tap number danced to the Chieftains song. Smuin ballet mistress Amy London created “It’s The Most Wonderful Time of the Year” for the 2010 show, adding much-needed asymmetry and energy, although the ensemble becomes a bit chaotic during a sequence that includes rhythmic-gymnastic ribbons trailing after the dancers.
In fact, more asymmetry would do The Christmas Ballet a world of good. Classical’s all-white look and Cool’s all-red (the one exception is the pink prom dress in Seiwert’s delightful “Please Come Home for Christmas”) are here to stay, so varying the choreography is the only way to keep the show full of surprises. To that end, editing each half down a bit and revisiting some of the old choreography would help enliven the pacing.
For example, in the first act, “The Gloucestershire Wassail” is a sweet step dance that demonstrates strength, coordination and speed. But it pales in comparison to the all-out energy of Hurlburt’s “Bells of Dublin,” so perhaps the company could choose one or the other? Some of the Act I pieces overlap in mood and movement; overall, trimming two or three dances from the Classical Christmas would allow each piece to get fuller attention from the audience.
In Act II, “Christmas in New Orleans” and “Cajun Christmas” are both energetic, location-themed ensemble pieces, and they could appear in alternating years. And in “Sugar Rum Cherry,” a row of women dance a Fosse-style burlesque with chairs, doing the same steps in tandem—why not reamp the vamping with some variations in timing?
Audiences love The Christmas Ballet exactly as it is. They would also be delighted by some exciting updates: At the end of the evening, the whole company comes onstage to dance freestyle, showing off leaps and pirouettes while tossing handfuls of snow into the air. It’s one of the most fun parts of the show and, other than the roaring applause for the “Bells of Dublin,” it garnered the biggest cheers. One wishes for more of that energy, enthusiasm and freshness throughout the whole program, to ensure a tradition that grows ever stronger.
The other fine Smuin dancers performing that night were Darren Anderson, Terez Dean, John Speed Orr, Jane Rehm, Susan Romer, Jean Michelle Sayeg, Erica Shipp, Shane Tice, Jessica Touchet and Travis Walker.
Normally, when multiple chorographers decide to coproduce a show, it’s because they like each other, or feel a creative synergy, or have harmonious work styles. Their artistic or logistical strengths and weaknesses being complementary, they shoulder different responsibilities to bring their unified show to pass.
But what happens when six up-and-coming dance artists who don’t know one another—and who have varying degrees of experience, vastly different priorities, and potentially conflicting decision-making styles—are given eleven weeks to put together a joint show at one of the Bay Area’s most prominent theaters?
ODC’s Pilot Program, that’s what. This year marks Pilot’s 20th anniversary and 57th “graduating class,” which includes Raisa Punkki of punkkiCo, Nathan Cottam, Daria Kaufman, Elizabeth McSurdy, Charles Slender of FACT/SF and Amy Foley. Their group show, Pilot 57: Pilot Light, takes place Saturday and Sunday, December 4 and 5, in the brand-new ODC Theater—the first and only time a Pilot show will appear in that 170-seat space.
“A lot of times when you start out, you do a piece at this small space here or this small space there, and we’re talking sometimes 10, 15, sometimes 20 people will show up,” said Cottam, a classical ballet dancer who recently earned his MFA in choreography and performance at the University of Arizona. “To put up a piece and have its mettle tested at a place like the ODC Theater—you’re riding some pretty significant coattails on a program like this. So you get to test out your ideas on a stage that really has some draw.”
The portal into ODC’s multilevel mentorship system, which continues with Migrations and House Special, the semiannual Pilot program tutors emerging choreographers in self-production, their most common outlet for showing work. For a minimal $95 fee, which includes application and enrollment, participants learn the basics of marketing, press and publicity, house management, lighting and box office from ODC staff, and then put those lessons to direct use as they develop the show. Participants get half off rehearsal space at the ODC Dance Commons, a useful resource as they create a new piece of up to ten minutes in length, plus the theater—and the production staff—free of charge for the performances.
More than 290 artists have taken part in Pilot, among them Erika Chong Shuch, Private Freeman, Amy Seiwert and Lizz Roman, who is also Pilot 57’s choreography mentor. Choreography, however, is the smallest slice of the Pilot pie. And in that bit of irony—a choreography mentorship that isn’t really about choreography—lies Pilot’s greatest challenges and most useful lessons. Each Pilot member heads up one area of production, but everyone has to agree on decisions about how the flyer will look, negotiations on staging needs, plans for the post-show reception, and how to publicize the event.
“It is interesting to not only have six cooks in the kitchen, but also to put a show together with anybody else, even just one person,” said Foley, who recently retired from Robert Moses’ Kin after dancing with the company for eleven years. “Because we are sharing the stage, that means we all have to have the same light plot, we all need to decide about the setup of the stage—some people want a cyc and a scrim, and other people are more interested in having a really kind of bare performance space. You have to agree on that, which is a good exercise for everyone. Because when you’re [dancing] in a company, that’s just all taken care of.”
“Often artists aren’t asked to do this, and we think that’s really an important skill because it initiates self-reflection,” said ODC School director Kimi Okada, whose tenure with the organization goes back forty years to its original incarnation as the Oberlin Dance Collective in Ohio. “A lot of inexperienced choreographers don’t know where to begin; they just go in and start making stuff. But communicating is really what art is about, and if you want to take the next step in getting more recognition, you have to get your work out there. And in order to put your work out there, you have to either get presented or have enough production skills that you can figure out how to self-present, or you collaborate with other people. You have to be resourceful. I’d like to think that the Pilot program really gives you resources and certain skills to be able to take that step.”
Unlike the majority of mentorships, grants, and residencies, Pilot doesn’t require a video or DVD submission. Applicants range from recent graduates to more-established artists exploring new ideas, and each one writes a brief proposal for a piece they’d like to put together during the program. “What we’re looking for is a succinct and articulate description of why they want to make a dance, what they want to make it about, how they plan to do it, what are the elements, what is the movement style, what is the music,” Okada continued. “We don’t hold them to it at all, but we just want to hear that they have an articulated vision of what it is they would like to do.”
Once they’re accepted, participants can veer from that proposal as much, or as little, as they’d like. ODC doesn’t meddle in their artistry beyond feedback given during one choreography workshop and two work-in-progress showings.
Everyone Gives, Everyone Gets
As infrequent as the choreographic feedback may be, it has been productive for Slender, whose two-year-old contemporary company, FACT/SF, will debut Pretonically Oriented v.1 in the Pilot shows. “It was totally brilliant. A group of us were thrown into an environment where we had to observe each other and observe our own work but not be too critical of it, and just see what we could make. Since I primarily make my own work, I’m like the little dictator in the studio; what I say goes. When you’re working with other choreographers, everyone has a different idea of what things mean, because we’re all artists. There’s a way that the experience made me relearn how to see things.”
Foley comes from the opposite perspective: that of a dancer accustomed to embodying another person’s vision. “I don’t want to show my work and have someone say, ‘Well, she clearly danced with Robert Moses for ten-plus years.’ I want it to be my voice and my work.” Pilot’s bite-size format offers a safe way to take her first steps as a creator of dance. “There are challenges, of course, in making a ten-minute piece. But it’s definitely been helpful to me, because I say, OK, it’s not an evening of work, it’s not even half an evening of work, it’s just one piece.” Foley ventures into choreography with Nearly/Known, in which she plumbs the nature of happiness—after all, why not start small?
Kaufman, on the other hand, has been presenting her own work since getting her MFA from Mills College in 2008. With her bent toward creating experimental performances, “I’m used to lower-budget venues where it’s more informal, or lower-tier, I guess you would say.” For Kaufman, showing work at ODC is an experiment in itself. “I wanted to see what it would be like to make something being presented by a more mainstream organization that…operates in this very different way than what I’m used to.” The ODC Theater won’t let her throw paint on the walls, so Kaufman will rely on an electronic noise-scape as the backdrop to 11:56 PM, her exploration of city life and city dwellers.
Pilot is a focused program with very specific goals. But like most things in life, it is what one makes of it. Cottam sees Pilot as “a little laboratory that gives you an opportunity to do some choreography, to cooperate with people, to extend your network. Raisa Punkki and I just had a conversation for 5 or 10 minutes, and I’m thinking to myself, I really like this person, and this is a person that I would enjoy working with in the future.”
Relatively new to professional choreography, Cottam has used that laboratory to dream up Aneurotypical, Man, set to Thelonious Monk’s solo piano music. “It’s fun and a real challenge. In the beginning I wanted it to be kind of contemporary ballet, but it’s kind of a mixed bag of really random movements. Some of it looks almost like soft-shoe-y tap dance, even though I don’t have any background in tap—it was just like, well, this seems like something we would do to this music!” Pilot’s creative freedom is also part of the appeal for the audience, which gets to see fresh ideas from up-and-coming artists—Pilot shows consistently sell out.
That ready audience makes Pilot a superb vehicle for McSurdy, a recent transplant from Boise, Idaho, to introduce herself to the Bay Area dance community. “I have more of a background as a designer and a dancer, not as a choreographer. So this is not only a debut piece for me in San Francisco, but one of the first pieces I’ve ever created.” Quite a coup for someone who applied to the program on a whim.
“I told myself that when I moved to San Francisco I would just be a dancer—show up and stretch and be told what to do. And I was really looking forward to doing that!” she said. Of course, we all know what happens to the best-laid plans: “This process really taught me that making stuff is way more enjoyable than I thought it was all of that time.” McSurdy’s recent life transitions—from Boise to San Francisco, from creator to dancer and back to creator—figure in her reflective piece on being a newcomer, Not just passing through. The title suggests that her new direction has staying power.
Punkki came all the way from Finland, moving to the United States in 2003 and founding her company, punkkiCo, two years later. The translation from life in Europe has been met with grants, awards and successful shows, but it hasn’t always been easy. “It’s a totally different way to maneuver things—funding, everything, is different. Some things I already knew; [Pilot] is kind of just confirming those things. What has been new to me is how you have to approach the press. It’s really hard to get a critic to come see you; if somebody comes, it’s so huge. In Europe I used to get critics every time I did something.” She connects with her roots in Polar Night, inspired by the darkness of the Northern Hemisphere in winter and set to a shamanic score by Finnish composer Kimmo Pohjonen.
In addition to better navigating the American arts world, “what I needed now is just to talk, to be able to share the artistic part of it,” Punkki said. “Working with Lizz Roman and talking with everybody, it’s wonderful. And we have been staying afterwards and talking about where the pieces are going, so it’s been really, really good for me.”
It’s not Yalta, But Still…
Merging six perspectives on art and business, meeting six people’s needs and negotiating compromises requires maturity. If one doesn’t bring it to the table, one learns it along the way.
“You throw these six artists together, and they have to come up with how to become a cohesive whole,” Okada said. “You have to figure out, OK, how do we intersect, what do we share, what are we interested in. It’s a way also of getting people to articulate what their artistic and aesthetic sensibility is.”
For Slender, the exercise has strengthened some underused muscles. “I’m gonna sit in this meeting at 8:30 in the morning with five other choreographers who are all at different places in their careers, and we’re all going to find some common ground. And we’re not going to find it because I’m gonna tell them what the common ground is, which is how I run my company, but because we’re going to figure it out.”
He also sees the bigger picture of how this experience can help a dance company grow. “The skills of learning and listening and observing are immediately applicable when you need to identify what other people can contribute. Maybe they have this other skill set that I don’t have, or they are making work that is just so different from what I would consider making, so maybe there’s a collaboration that can happen.” It’s not the easiest skill to master, but it’s a powerful tool to employ in art, in business and in life.
So from the crucible of Pilot, artists emerge with potent skills and practice using them. “One of the real beliefs of the Pilot program is that you should know how to do this yourself and take it on,” Okada said. “Don’t wait around for the opportunity and cry because you didn’t get picked. It happens to everybody—carry on! You gotta have a thick skin, but you have to have the chops behind it to survive. That’s what we hope this will give them.”
ODC School & ODC Theater Present
Pilot’s 20th Anniversary Pilot 57: Pilot Light
Saturday and Sunday, December 4-5, 8 p.m.
ODD integrates dancers in wheelchairs and on foot.What’s in a name? AXIS, the name of Oakland’s renowned physically integrated contemporary dance company, plays on the turning axes of wheels and on accessibility; before it formed in 1987, world-class opportunities for dancers with disabilities were few. For choreographers like Joe Goode, Margaret Jenkins, Sonya Delwaide, and now Shinichi Iova-Koga, AXIS Dance Company also means access to uncharted dimensions of creativity. “We realized early on that instead of having disabled dancers in the company being a limitation, it actually opened up this huge potential for movement and partnering and ensemble work,” said artistic director Judith Smith. Combining dancers in wheelchairs and dancers on foot, AXIS achieves speed, fluidity, inventiveness, and freedom that other companies can’t match.
AXIS “presents a completely different body than I’ve been working with, and that gives us a whole new series of investigations that we can get into,” said Iova-Koga, choreographer of ODD, a new evening-length piece inspired by the moody, figurative paintings of Norwegian artist Odd Nerdrum and performed by an ensemble of dancers from AXIS and Iova-Koga’s award-winning company inkBoat.
Flooded with Gold Rush lucre and teeming with the adventurers who hunted for it, San Francisco in the 1850s was a rootin’-tootin’, quick-shootin’, prostitutin’ Wild West boomtown. Halloween in the Castro has nothing on the Barbary Coast.
As choreographer Joanna Haigood describes it, “The energy was very chaotic, wild, violent, excessive. The city was being burned down on a regular basis, people were shooting each other in the street, there was a tremendous amount of crime and mayhem. There was so much money, it was absurd; rents were comparable to today.” That kind of drama holds obvious appeal to an artist whose métier is performance, and it provides the inspiration for Haigood’s latest site-specific contemporary piece, Sailing Away, which her company, Zaccho Dance Theatre, will premiere October 7-10 on Market St.
East Bay Express Fall Arts Preview, September 1, 2010
A stellar East Bay dance season is waiting in the wings.
Along with venues that draw dance talent from around the globe, the East Bay boasts world-class choreographers and dancers (who are sometimes better known on other continents than in their own neighborhoods). Whether your taste runs to the classical, the contemporary, or the avant-garde, the 2010-11 season offers something to satisfy your appetite. And with so many shows, festivals, and special events to choose from, it’s easy to fill your dance card.