ROMANCE REIGNS AT S.F. BALLET SEASON OPENER
Seated on plush velvet seats in the War Memorial Opera House for a performance by the San Francisco Ballet, it’s easy for the audience to conjure a mood of romance.
But the complex reality of the artistry and extreme athleticism onstage is a far cry from any such rose-colored assumptions.
Yet as the Ballet Auxiliary hosted the 82nd opening-night gala for the world-renowned dance company Jan. 22, “Infinite Romance” reigned.
The elegant art form even inspired the May wedding of this fete’s honorary chairs, Jim Mar
ver and Stephanie Marver, both Ballet trustees who were nudged into a date by Ballet Principal Gifts Officer Fermin Nasol.
And amid the gala’s sold-out crowd of supporters, swathed in black tie and bright ball gowns — some crowned by feathers and butterflies or framed with jawdropping gems and even a hood — the romance is real for Ballet Artistic Director Helgi Tomas
son, whose 30th season was also heralded.
“Helgi has led the San Francisco Ballet to become one of the world’s most forward-thinking, innovative and artistically excellent dance companies,” toasted Ballet board Chairman John
Osterweis. “But world-class artistry also needs to be world class financially.”
So in addition to this gala raising a record-setting $2.7 million for the Ballet’s education programs, Osterweis also announced the launch of a $65 million capital campaign to support new productions, tours, education programs and the S.F. Ballet School. Chaired by Ballet trustee Dede
Wilsey, the campaign has already raised $43 mil. But during intermission, she swore it would be a fast one.
“I’m doing this in name only,” joked Wilsey, also board president of the Fine Arts Museums. “Because I’m working on something big for the 10th anniversary of the de Young Museum in October.” Gala chairwoman Shelby
Strudwick commenced festivities with cocktails and canapes at City Hall, transformed by decor chairwoman Patty Rock and designer J. Riccardo Bena
vides into a modernist palette, awash in gray-blue, set with fantastical structural elements tempered by flowers.
“I was inspired by a Style spread I read in The Chronicle about the season’s new colors,” Rock explained. “And it struck me, what says ‘San Francisco in January’ better than moody grays and indigo blues?”
Atop sexy, sequined table tops, McCalls chefs Lucas
Schoemaker and Josip Martinovic served up apple-beet salad, fillet of beef and chocolate mousse paired with primo William Hill Estate vino.
Before curtains-up, a pea- cock’s parade of gala guests were guided by the city’s finest through an open gate in the middle of Van Ness to the Opera House, where a joyful crowd of S.F. Ballet School mothers and their progeny filled standingroom slots in the back of the house.
Perfectly postured in a red party dress, 11-year-old Kayla Li expressed her desire to continue the dance.
“Helgi taught one of my classes,” she said. “And he’s very good at directing. I hope, one day, to dance full time with the Ballet.”
And even though his pint-size suit was adorned with a sheriff’s star, 5-year-old Matisse Molat, with his mom, Genevieve Brise
bois, nodded enthusiastically when asked if he wanted to dance like his dad, S.F. Ballet principal dancer Pascal Molat.
Post-performance, Pascal Molat marveled at Tomasson’s tenure: “What Helgi has accomplished in 30 years, in taking this company from a regional one to where we are tonight, well, it’s a success story.”
Yet when we finally found Tomasson amid the post-party revels, his calm, cool, Icelandic demeanor modestly belied the bounty of the “bravos” bestowed upon him.
“Our dancers and choreogra- phers are so inspiring,” he demurred graciously. “Even at 30 years here, I’m always looking ahead to create new works, revive older ones and discover new artists.”
This former Joffrey Ballet star turned choreographer was joined in that gospel by his wife, Mar
lene Tomasson, a former ballerina.
“New choreographers and dancers,” she said, “are the future which moves the art forward and keeps the art of ballet alive.”