S.F. BALLET GALA DRAWS INTERSTELLAR CROWD.
It was a dark and stormy night at City Hall, where the San Francisco Ballet sounded the trumpet for its 85th season-opening gala Jan. 18. As umbrella-wielding Soiree valets protected 910 gala guests scurrying inside, the fundraiser’s Celestial theme — described as “inspired by the grandeur of the night sky” — seemed a tad ironic.
But thanks to the wizardry of designer J. Riccardo Benavides, the grand Rotunda’s interior and dome dazzled like the aurora borealis, glowing green and purple with constellation projections and twirling disco balls. Well, why not?
“I didn’t want to do stars or gold accents. My goal was to take guests to another planet that’s warm, romantic and glowing with candlelight,” Benavides said. “I love the Ballet and wanted my design to reflect the company’s soaring spirit.”
Flanking the Rotunda staircase were two mirrored, cut-out forms of ballet dancers — the gala goers’ favorite spot for selfie shots.
“Dancers are so petite yet strong; I’m in awe of the shapes and movements they achieve,” he continued. “So that’s why I made these figures 10 feet tall: To me, the skill of a ballet dancer makes them appear larger than life.”
Even McCalls Catering got into the theme: A divine three-course dinner featured a lemon tart dotted with star-shaped meringue and a moon-shaped shortbread cookie. Led by Gala Chairwoman Kathy Huber, with dinner chair Betsy
Linder and decor chair Catherine Bergstrom, this sold-out soiree raised $2.75 million for the annual fund of the world-renowned dance company.
“The idea of Celestial was to bring the night sky inside, in a contemporary style,” said Huber, sparkling in a black Monique Lhuillier gown accented by starlike rhinestones. “Riccardo did an amazing job; he’s made my dream of ‘celestial’ come true.”
Ballet board chairman, Carl Pascarella has a well-known nose for numbers and expressed delight at the company’s financial health. And as a devoted board member of 20 years, Pascarella is also thrilled by the Ballet’s prowess that, aside from its regular repertory, will include “Unbound: A Festival of New Works” in April.
“2018 is going to be a significant year for the Ballet. Aside from performances of ‘Sleeping Beauty’ and ‘Frankenstein,’ the new works festival will give us the opportunity to redefine ballet as an art form,” he declared. “I don’t think any other company in the world could pull off featuring 12 new works by 12 diverse, world-class choreographers.”
Post-performance, even more guests gathered back at City Hall for a spirited after-party filled with a rockin’ cover band, DJ and more McCalls delicacies that paid culinary homage to the native countries of Ballet principal dancers.
But big-ticket patrons beelined to the fourth floor, where Huber and Benavides created a new VIP lounge tricked out with a sushi bar, nightclub seating and DJ Will Magid. These fervent dance fans awaited the arrival of the arrival of the night’s true stars, who’d just dazzled onstage at the Opera House.
They were easy to spot: chic, toned, twenty-something and hungry.
Corps member Blake Kessler, who’d just performed in the program’s finale (“Rodeo: Four Dance Episodes” by choreographer
Justin Peck) graciously stopped to chat, even though we were blocking his way to the sushi bar.
The Florida native, 20, is just in his second season with the Ballet — and he loves that the great repertory allows him to perform all styles, from classical to neo-classical.
“But the experience of working with the Ballet’s top-level dancers and ballet masters is so amazing and inspiring,” Kessler enthused. “We learn so much from them and the principals are very encouraging in helping you grow as a dancer.”