SF ballet

English choreographer Christopher Wheeldon continued this tradition of crafting a classic ballet to be timeless with “Cinderella” at the War Memorial Opera House on April 4

On the night of March 14, the tapered golden curtains of the War Memorial Opera House slowly gave rise to the first of three running bill programs presented by SF Ballet.

Oozing with an intangible, irresistible glamor, the San Francisco Ballet’s “Swan Lake” took opulence as an opportunity.

The grand spectacle of “The Nutcracker” — of the glittering costumes, lavish production design, impossibly difficult yet effortlessly executed movements — kindles a rare sense of pathos. One that lingers long after the intermission and settles in on the drive along the Bay Bridge.

“It’s so easy to just want to hibernate and just say wake me up when it’s over,” Tweeddale said. “But we refuse to do that. We will not do that.” 

For “Nutcracker,” the dazzling spectacle and expert dancing are what have been keeping lovers of the arts coming back year after year.  

At first glance, this intervention may seem out of place and random. But little details such as this are truly able to capture the unpredictable and avant-garde spirit of Björk.

Acclaimed Oakland-born costume designer Sandra Woodall and her creative team have flawlessly executed costumes for more than 200 dance and theater productions. Accordingly, sublime and stellar garments are to be expected from Woodall, a five-time Isadora Duncan Award winner.

Viewers were greeted by heavy canary blue curtains and gold piping that lined the edges to reinforce the typically elaborate set design of SF Ballet productions. In the same vein, the costume design by Jens-Jacob Worsaae implemented opulent velvet robes, gaudy headpieces and an abundance of ornately decorated tutus.