90th season’s opening gala ushers in era of female leaders
Observing company class at the San Francisco Ballet, I was able to witness the grace and rigor of the dancers up close. Watching over them in studio are portraits of Ballet founders Lew, Harold and Willam Christensen, a reminder of the institution’s lauded history — and long tradition of male leadership. But as the company approached the opening of its 90th season in recent weeks, the founders have been joined in the studio by new Artistic Director Tamara Rojo, whose arrival has been much anticipated since her appointment was announced a year ago.
“I’ve been able to teach class and work one to one with the dancers,” Rojo said at the Ballet’s season-opening gala Thursday. “It’s a good way to get to know them outside the stage environment, a quieter way.”
That has been true for the dancers as well, said soloist Isabella DeVivo.
“She’s challenging, but she’s also very human,” DeVivo said. “We’ve been so accustomed to a certain repertory, and now, I’m looking forward to seeing what Tamara brings with her vision, her experience.”
If the Christensens are the foundation of the company’s storied past, Rojo is seen as a beacon of its future. The 48year-old dancer and former artistic director of the English National Ballet officially began her role at the company six weeks ago. She is the first woman to hold the position and shares the company’s helm with Executive Director Danielle St.Germain, making San Francisco Ballet one of the rare all-female-led companies in the world.
“I’m paraphrasing something former (American Conservatory Theater) Artistic Director Carey Perloff said:
Women are hired based on resume, men are hired based on promise,” St.Germain said. “It’s hard to build a resume, and Tamara had that incredible opportunity to jump from dancer to being dancer and artistic director. Everything she talks about wanting to do with the company, she’s doing herself, completely hands on.”
For principal dancer Yuan Yuan Tan, who performed in the world premiere of Yuri Possokhov’s “Postscriptum” on gala night, the change in leadership has already felt positive.
“There’s such good energy, good vibes, from these two ladies,” said Tan, who has been with San Francisco Ballet for 28 years. “I believe I’m the longest (tenured) company member. It’s home to me. With so many very young company members, I’m looking forward to seeing if a new star will be born.”
As guests entered the War Memorial Opera House on Thursday, there was much excitement about Rojo’s first gala. Although the 90th season was programmed by her predecessor, Helgi Tomasson, longtime fans of the company were eager to hear Rojo’s vision as the company continues to evolve in an artistic landscape impacted by the pandemic and demands for social justice.
“Girl power at the San Francisco Ballet!” gala chair Betsy Linder declared during the preperformance cocktail hour. “This is an exciting year for many reasons. We’re one of the oldest ballet companies in the country, (with) the oldest ‘Nutcracker’ in the U.S., and we’re also reaching into the future with new works and new leadership.”
The ballet estimates that $2.75 million was raised by the gala to benefit artistic and educational programs.
Among the high-profile supporters of the company in attendance were former House Speaker Nancy Pelosi and her husband, Paul Pelosi, who also attended the opening gala of the Fog Design + Art fair the night before at the Fort Mason Center for Arts & Culture. Observers noted that security around the couple seemed tighter than normal. Paul Pelosi wore fedoras on both nights, a reminder of the head injury he sustained during a break-in at the couple’s Pacific Heights home on Oct. 28.
“I don’t think we’ve ever missed an opening,” said Nancy Pelosi, “and Paul never misses a performance because he’s here more than I am. We’re so proud of San Francisco Ballet.”
When asked if she had any advice for the women leading the company, Pelosi said, “I think they’re both going to do great.”
After the performance, guests crossed Van Ness Avenue for the gala dinner in the City Hall rotunda, catered by McCalls Catering & Events and designed in black and white by J. Riccardo Benavides. Many of the dancers joined the patrons at their tables and at the afterparty.
“A gala is more challenging than a normal performance. You might be doing just a five-minute piece, so you hope everything goes well because you don’t really have time to settle in,” explained principal dancer Luke Ingham, who performed in Val Caniparoli’s gala-exclusive piece “Double Stop” and in an excerpt of Nicolas Blanc’s “Gateway to the Sun,” which will make its fulllength world premiere during the Ballet’s next@90 festival, which began Friday.
Ingham has taken class with Rojo. In addition to being happily surprised she could fit teaching into her schedule during her first weeks, he said, “she’s really been incredible in how she’s communicated with us as a group what her vision is, her expectations, and been so insightful about the future of the company.”
Soloist Katherine Barkman, the newest member of the Ballet, attended the gala even though she was unable to perform because of an injury. Already, she said, she feels like part of the company’s future.
“I was one of Helgi’s last hires, but I also feel like one of Tamara’s first hires,” Barkman noted. “I’ve only ever worked for strong, empowered women leaders. All I can say is that’s the future.”