Technical Virtuosity/ Avant-Garde Sensibility

This weekend I saw the most thrilling piece of dance performed by my beloved San Francisco Ballet, "Artifact Suite," choreographed by William Forsythe, with music by two composers, J. S. Bach and a contemporary composer, Eva Crossman-Hecht. I saw it first on Friday evening with my balletomane pal, P., and was so blown away by it that I went again by myself yesterday afternoon, Standing Room, to see its final performance this season.

I don't think I've ever seen any live performance of dance, theater or music that has had such unexpected twists and turns and such moments of breathtaking communal spirit.

ahh, almost fergot to mention: the costumes were hot too.

Yesterday, while I was watching it, I realized that this aspect was what I found most thrilling: the piece used thirty dancers-- 25 corps members, 2 "Duet Couples" and a "Single Female Figure" (the incomparable Muriel Maffre), and they all created this experience of being members of a vibrant, erotic, dangerous, quiet, unified, chaotic, SPIRITUALLY CONNECTED community.

It is a very modern ballet, and not for everyone. Two ballet patrons of the *older persuasion* who were seated behind us on Friday night were NOT amused... "It's TOO LOUD!!!" (seconds after it started), "This is like a BAD DREAM!!!!!!," etc.

But you can't do "Swan Lake" every night, for chrissakes!

The company is repeating "Artifact Suite" next season-- it has been critically acclaimed by the local dance critics here. Mark your calendars. It will change your life if you see it.