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At first, we gamely multitask and ping and poke about, but eventually we feel mentally exhausted because there is far too much information with precious little meaning tumbling into the Twitter feed of our consciousness. Playfully directed by Casey Stangl (“Venus in Fur”), this West Coast premiere may lack the visceral force of the play’s New York production, but it’s still an exhilarating journey into the enigmas of the human mind and our unslakable thirst for stimulation and distraction.
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Why? Online shopping. Duh. Plus lifestyle changes, a preference for outdoor/mixed-use complexes (think lofts, shops and restaurants) and the oversaturation of indoor malls from the ‘80s and ‘90s. “They just built too many malls, too many stores,” says Ron Friedman of Marcum LLP in Los Angeles, which researches retail and consumer trends. “Now millennials want more of an experience, food options, entertainment. Malls have to adapt. The ones that don’t will disappear.”. But is it true even here, in the bubble of the Bay Area?.
“Swing Low Sweet Chariot,” Traditional negro spiritual, adapted and arranged by Moses Hogan, Medley, “Take Me With You/Let’s Go Crazy,” Prince, “Sabre Dance,” from ballet “Gayane,” Aram Khachaturian, “Mississippi Goddam,” written and performed by Nina Simone, “Power of Soul,” Jimi Hendrix, ballet shoes #2 infant tutu bodysuit “Three Little Birds,” Bob Marley, “Pride,” by William Calhoun, performed by Living Colour, “A Love Supreme, Part 1,” John Coltrane..
While the music ranges across the centuries, the choreography is tightly focused on neoclassical masterworks, including two company premieres by Sir Frederick Ashton, “Les Rendezvous,” set to music from Daniel Francois Esprit Auber’s opera “L’Enfant prodigue,” and “Meditation from Thais,” set to Jules Massenet’s “Meditation.” From the gala, the company also reprises choreographer Stanton Welch’s “Clear,” set to Bach’s Concerto for Violin and Oboe in C minor and the first and second movements from the Violin Concerto in G minor, and Clark Tippet’s Bruch Violin Concerto No. 1, set to Max Bruch’s famous, oft-interpreted concerto.