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 Post subject: Stephen Petronio Company 2007
PostPosted: Fri Jan 12, 2007 8:03 am 
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From Valerie Gladstone in the Boston Globe:
Quote:
A choreographer challenges dancers, tastes, and himself
-- “This is the first time in my life that I have more than enough to do,” says choreographer Stephen Petronio on a break from a recent rehearsal in SoHo. “The company is touring widely. I have commissions everywhere, my board is expanding, and I’m making piece after piece after piece. It’s fantastic.”

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PostPosted: Sat Jan 13, 2007 9:48 am 
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From Theodore Bale in the Boston Herald:
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‘Bud Suite,’ ‘BLOOM’ blossom
A few years ago, choreographer Stephen Petronio told The Herald that he had “some kind of interest in reckless ecstasy.” That interest is still there, and particularly evident in his latest efforts, two brilliant and highly structured explorations of glorious music from composer and singer Rufus Wainwright.

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PostPosted: Thu Jan 18, 2007 10:36 am 
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From Marcia Siegel in the Boston Phoenix:
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Self singer
Stephen Petronio at the Barbara Lee

“One’s self I sing, a simple separate person. . . . Of physiology from top to toe,” goes one of the Walt Whitman poems set by Rufus Wainwright for Stephen Petronio’s Bloom. Those words describe Petronio’s dance temperament as well as anything could. Although you find groupings and relationships in his work, both the ensembles and the big dance effects rely on individuals invested to the max in their own movement. A Whitmanesque celebration.

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(FWIW, Thea Singer also reviewed the Petronio company performance in the print edition of the Boston Globe, but I never found her review online.)


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 Post subject: The Rite Part
PostPosted: Fri Jan 26, 2007 9:24 am 
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Location: Boston, MA
I wanted to add a comment to this thread regarding Petronio's choreographic choices in the Danse sacrale. What was striking about the final solo, the sacrifice, was how greatly it differed from the imagery that has come to be associated with this moment in Stravinsky's score. Rather than the quivering grasping and petrified stillness of Nininsky's choreography, Petronio's movment, with its hyper-sensuality and physical prowess, depicts a woman who is in command of her sexuality and body.

This is a far cry from a virgin sacrifice. Petronio spoke to this in the Post-Performance Q&A, stating that while he felt the paegan imagery of a virgin sacrifice to appease a harvest god might certainly have been provocative to an audience in the early 1900s, he wanted to reshape this thematic element of The Rite of the Spring so that it would have some relevance to where we are in 2007. He chose to show a woman who willfully works herself up into a state of rapturous transformation. Once again, Petronio's persistent curiousity of ecstatic sensuality shines through.


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 Post subject:
PostPosted: Sun Feb 11, 2007 10:28 pm 
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Location: San Francisco
They’ve Got Kick
Stephen Petronio Company
Presented by San Francisco Performances
Yerba Buena Center for the Arts
February 9, 2007 8PM

Do you ever wake up and think, “Hey, I have an urge for some New York-style modern dance today!“? Funny enough, I did so just last week, and what timing with Friday’s return of the Stephen Petronio Company (presented by San Francisco Performances at Yerba Buena Center for the Arts). This evening was a night filled with dance (SF Ballet and Reggie Wilson next door presented by YBCA), and I’m glad I was able to see the Stephen Petronio Company’s return to the city by the bay.

The program opened with what happened to be the shortest yet potentially most fulfilling work, Petronio’s 2006 “Bud Suite,” set to the intelligent music and lyrics by Rufus Wainwright. Funky, edgy, and clever, “Bud Suite” explores the poignancy of youth and the multitude of expectations throughout life without ever feeling like a downer. The dancers, partially in suits or white button downs with tattered backs and short red shorts (with tulle poofs on the rears at one point for the women), moved with incredible ease yet underlying power: Little piques here, a large grand battement originating from the pelvis there. The movement grew, yet not too big for its britches as my grandmother would say, and I enjoyed the understated yet compelling style.

“Bud Suite” acted as a prelude to “BLOOM,” also set to the music of Wainwright (utilizing lyrics from Latin Mass as well as the poetry of Walt Whitman and Emily Dickenson). While Wainwright was prerecorded, additional live accompaniment was also provided by the sweet and melodious sounds of the San Francisco Girls Chorus conducted by Susan McMane. The company’s men wore Rachel Roy’s cream/grey colored vests and shorts, and provided a more grounded contrast to the women, who were dressed in her muted blue/grey dresses resembling tulips blowing in the wind (and some “blooming“ later on into golden shimmer-like baby doll dresses). As the chorus, the music, and the dancers continued to soar, I crept to the edge of my seat, the company moving so fluidly on stage through this harmonious dance that I didn‘t want it to end.

Excerpted from Petronio‘s 1992 “Full Half Wrong, “The Rite Part,” set to Igor Stravinsky’s “Rite of Spring” and music by Mitchell Lager, is based on Nijinsky’s “Le sacre de printemps.” The company, adorned in sheer black bodysuits clad in fabric scraps, seemed transformed from earlier. No longer were they happy and carefree; instead, the dancers moved with steadfast purpose, some clear end in sight. Shila Tirabassi, as the woman dancing herself to death, jumped, kicked, and paused with sexual abandon, and closing the program, “The Rite Part” drove the evening home with seductive yet fierce imagery.

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So two dancers walked into a barre...


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PostPosted: Tue Feb 13, 2007 1:20 pm 
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Location: El Granada, CA, USA
Review from the SF Chronicle.

Quote:
REVIEW
Petronio disconnected from Wainwright warmth
Rachel Howard, Special to The Chronicle

Tuesday, February 13, 2007

For fans of music star Rufus Wainwright, Stephen Petronio's latest dances sounded like a dream match: One of America's hippest choreographers takes on Canada's hippest nasal-voiced singer-songwriter.

But the early word from the Stephen Petronio Company's native New York was not warm, and over the weekend the troupe's San Francisco Performances engagement at the Yerba Buena Center for the Arts proved why. The problem was not that Petronio's hard-edged aesthetic -- bodies that slash through space, legs and arms that work like switchblades -- stands emotional worlds apart from Wainwright's warm, witty pop-folk-opera mash-up. The problem was that Petronio uses Wainwright's music like wallpaper.


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PostPosted: Fri Feb 23, 2007 7:06 pm 
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Location: Seattle, WA, USA
Stephen Petronio Company will perform 2:00 p.m. matinees on Saturday and Sunday, February 24 and 25 at the Moore Theatre in Seattle, as part of the Seattle Theatre Group's Dance Series. Alice Kaderlan previews the performances in the Seattle Post-Intelligencer:

Seattle P-I


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PostPosted: Mon Feb 26, 2007 11:02 am 
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Location: Seattle, WA, USA
In the Seattle Post-Intelligencer, Alice Kaderlan reviews a performance of the Stephen Petronio Company on Saturday, February 24, 2007 at the Moore Theatre in Seattle:

Seattle P-I


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