Cal Performances announced its 2020-2021 season in May, filled with its usual adroit array of musical, theatrical and dance attractions for one of the best audiences a performing artist could hope to entertain. Frequently it has commenced events in late August; on the 20th in the Greek Theatre Yo Yo Ma and collaborators continue that tradition, Covid restrictions permitting.
Miami City Ballet comes to Zellerbach October 2-4 for the second time, now under the artistic direction of Lourdes Lopez. Its first visit, under the helm of Edward Villella, was, if I remember correctl , also a fall visit and included Balanchine’s Emeralds in which Villella said one of the ballerinas was dreaming. [I forget which one,]
This October appearance will feature three choreographers with strong New York City Ballet connections. First, is George Balanchine’s Four Temperaments, choreographed to a Hindemith score he commissioned a decade or two previously. Premiered at the High School for the Needle Trades, it was produced by Lincoln Kirstein’s Ballet Society, the forerunner of NYCB. One of the frequently mentioned incidents was Balanchine’s stripping Mary Ellen Moylan’s costume so she could be seen. It was a forerunner of the black leotards and white tights costuming for the fledgling company – a distinct economic solution.
Justin Peck is represented by Heatscape, continuing exploration of current vernacular movement. Alexei Ratmansky has set the third and final work to Rachmaninoff’s Symphonic Dances.
The November 21-22 appearance of Ballet Hispanico with works by Annabelle Lopez Ochoa, Michelle Manzanales and Andrea Miller will be its debut appearance at Zellerbach and probably the Bay Area, though the New York-based company has a five decade history behind it. The brochure touches on the multi-aspects of Hispanic culture – from Sephardic history to the stereotypes of West Side Story.
November 13 Zellerbach Hall will host The Dhamaal Dancers and Musicians of India from Jaipur. Outside of early Kathak and Kuchipudi artists from India and, more recently Odissi dancers, this seems to be the first in the “folk” tradition, and from Rajasthan. The Asian Art Museum hosted a Rajasthani story teller easily a decade ago, a man and his wife who were chronicled in The New Yorker, but is the first “folk” troupe to my knowledge. Ranga Sri, a collective folk-oriented group active in the ‘Fifties and ‘Sixties, drew on tribal traditions, but the dancers performed choreographed pieces and a few of them at one time had enjoyed connection with Uday Shankar Led by Rahia Bharti, a lineal descendant of court musicians, it will be fascinating to see how the Rajasthani tradition is presented.
The Cloud Gate Dance Theatre of Taiwan December 5-6 will present two works, one each by the retiring and incoming artistic directors. This must be at least the company’s fourth appearance at Zellerbach, using music from Shostokovich as well as that of composer Lin Giongi.
Mid-month December, 12-13 will celebrate the tap dancing of Caleb Teicher and Company with Conrad Tao at the piano. Teicher is a former member of the Dorrance company and the work, More Forever, will be performed in a 24 foot square sand fox to Tao’s electroacoustic score. Sounds like quite a Twelfth Night gift.
Not technically dance, Kodo returns February 6-7, its strength, grace and virtuosity a continuing source of pleasure and admiration.
English Hip-Hop comes to Zellerbach March 5-6-7 in the form of Boy Blue, Blak-Whyte Gray: A Hip-Hop Triple Dance Bill. While it is clear Cal Performances is intent on broadening its audience base, the phenomenon of Hip-Hop performance has enjoyed lengthy exposure at San Francisco’s Palace of Fine Arts under the discerning eye of Micaya. If Covid permits November 20-21 will celebrate its 22nd year of the International Hip Hop Festival. I can’t help wondering whether Boy Blue enjoyed part of its genesis through Micaya’s devoted producing.
Hors de categorie, but allied to Kathak dance throughout his celebrated career, Zakir Hussain brings Masters of Percussion to Zellerbach March 20.
April 6-22, The Alvin Ailey American Dance Theatre settles in for its annual appearance at Zellerbach, with a roster of choreographers: artistic director Robert Battle; Rennie Harris; Ronald K Brown, Judith Jamison; Donald Byrd and the rising talent Jamar Roberts. Ailey’s classic, Revelations, will be included.
May 7-9 the Mark Morris Dance Group will appear with the Philharmonia Baroque Orchestra in the Jean-Philippe Rameau opera Platee. The production premiered originally in 1998 and was widely enjoyed. Twenty-two years later we have the chance to relish once more.
The Eifman Ballet take on Hamlet closes the dance offerings June 4-6, and if you like strong histrionics mingled with superb ballet technique, this is the event for you.
God and Covid-19 willing, it’s quite a season to anticipate.
mywesterneye/woollywesterneye 
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