San Francisco’s Nutcracker
Here’s a rundown on our short, but memorable trip to the way-steep hilly city with the famous golden bridge.
As we are in the R&D phase of The First Guild School of Ballet & Arts, our focus is on exploring ballet schools and programs that exist in the US. With this in mind, we drove up direct from LA, just in time to make it to San Francisco Ballet School (at the Chris Hellman Center for Dance) before their closing for the holiday break.
It was indeed a frantic day with everyone either getting it together for the Nutcracker performances starting that night, or busy wrapping things up at the end of the school session.
In the midst of it all, the receptionist was happy to share her take on the school’s modern approach to ballet, in attitude, structure and training style — emphasizing a clear departure from the virtues of more traditional classical dance education.
A few snapshots, a take-in of the environment, a brief but telling conversation with the receptionist — and we were off to find our Airbnb pad!
The next day, before the main event we discovered a great French restaurant located right across the entrance to SF’s famous Chinatown district adorned with a lavish store complex called Michael’s featuring rich stone sculptures, statues and high end art pieces.
The French bistro really hit the spot! Café de la Presse was a happening place with just the right amount of Parisian culture – including my drink called “April in Paris”.
A wall of photos featuring great chefs including Julia Child and Jacques Pépin adds extra flavor to the authentic charm of the establishment founded by a French chef who learned of his zest for culinary art from cooking with his grandmother.
Bottom line: they know how to make food and they know how to do business!
The performance itself was a bit of a letdown due to a foundation lacking in technical strength and seriousness of principles taught in more traditional ballet schools.
There were of course exceptions… the male clown doll, clearly a talented dancer in energy, artistry and unusual bending ability; the ‘middle-man’ of the Russian trio at the Sugar Plum Fairy Palace with over-the-top acrobatics; and the princess ballerina into whom Clara transforms for the finale, evidencing a more serious classical training background – showing in both technique and stage presence… still, this level is soloist, not principal material for a top-tier world ballet company.
But with that said, ballet is ballet, it is an artform like no other, and just being in a climate where there is such a focus and striving towards what is basically an elevated state of being, is enough to commend a genuine appreciation for all involved.