Over New Year’s, I gathered all of my programs from the past year’s worth of ballet-going.  I laid them out on the floor and gave them the once over.  What stood out?  When I look back to write my year in review, I prefer not to reread all my posts.  Rather, what has remained with me?  What am I still thinking about or talking about?

At first glance, not one program jumped out at me.  Not everything can be amazing, but I saw so much—surely there were memorable moments.  Reflecting further on my viewing, I came up with a top five.  A few pieces that made the list last year didn’t make it this year, because they were return engagements, so to speak, and had already gotten their due.

In chronological order, here are my 2019 highlights.

Renaissance // Smuin
Smuin Contemporary Ballet, where I work (and therefore don’t write about), celebrated its 25^th anniversary during the 2018/2019 season.  Artistic Director Celia Fushille commissioned a new ballet from former choreographer in residence Amy Seiwert for Dance Series 2.  The result was Renaissance, a powerful work that featured the ensemble more than individual dancers.  The music stuck with me, which was unexpected, as did the feeling.  When the dancers form a chain, near the end, I wanted to be one of them, running out next and joining hands alongside them.

Mayerling // The Royal Ballet
OK, there was no way this wasn’t going to be a highlight.  Seeing The Royal Ballet here in California?  With an earthquake at intermission?  With performances by such stars as Lauren Cuthbertson, Marianela Nuñez, and Natalia Osipova, among others?  I was so fortunate to see two great shows, but I can say with confidence that I won’t be moving to L.A. any time soon.

Song of a Wayfarer // Ballet Festival at the Joyce
I had forgotten about this, and I felt quite bad about that because it was a true highlight.  The ballet was so emotionally powerful and wonderfully danced by David Hallberg and Joseph Gordon.  Would be happy to see this Béjart ballet again tomorrow.

The Man in Black // Smuin
Another entry from Smuin!  The Man in Black was choreographed by James Kudelka for three men and one woman, all wearing cowboy boots.  I was very skeptical.  And I was blown away.  I watched every performance and am so excited that it’s coming to Mountain View in February so that I can see it again.  Sometimes, if I’m standing watching a piece at the back of the theater, I find myself trying to pick up the choreography.  This was one of those pieces for me.  The audience reaction was also fascinating—many people came out with tears in their eyes.  I was not moved to tears, but I was absolutely moved.  I talk a lot in my posts about choreographers creating a mood, and Kudelka did that here, certainly aided by the Johnny Cash music.  That mood is not one note, ranging from dark to angry to melancholic, and while the palate of steps he worked with is not huge, the piece shows how much can be conveyed, often by so little.

Wish You Were Here // Rock the Rink
Going to see the ice skating show represented more than what happened on the ice.  This experience managed to capture my unexpected new interest in skating, the opportunity to see two superstars of the field, and was the fitting conclusion to my interview with Guillaume Côté earlier in the year (see below).  The trip also marked the second of five annual “celebration vacations,” as I call them.  So there were layers of meaning and significance here.

Exciting Extras
This past year included a couple of non-performance highlights for me as well.  First up was my conversation with Rebecca King Ferraro and Michael Sean Breeden of the Conversations on Dance podcast.  They very graciously agreed to speak with me, which was extra-thrilling when you look at the dance world celebrities they interview.  And yes, I know what you’re wondering—they do sound exactly the same over the phone as the do on the pod.

Then, I got to interview Guillaume Côté.  This was for Dance Magazine, not my blog, but it’s a life highlight and it’s my year in review so it counts!  I did get to see Côté, and the rest of the National Ballet of Canada, perform Nijinsky here last season.  It’s a great company I’d love to see more of… Perhaps I should consider going to the ballet in Toronto next!

There’s not a lot on my going to the ballet calendar so far in 2020 that’s exciting me.  But having just revisited 2019, I think I can rest assured that there will be clear anticipations and unexpected surprises, just as there were this past year.  Not everything will resonate.  But there will always be highlights.

Wishing you a wonderful year of watching dance!