Venue Details

14 events
9 reviews
2 stars
I wore a silk suit and my husband wore a dress jacket and pants. People are dressing rather sloppy for the theater lately. It is a special place and I enjoy seeing the folks dressed up. It makes it seem more special..
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S. Craig Red Velvet
344 events
152 reviews
41 stars
Mitsua Market on Paularino, 1.5 blocks east of Bristol on the South side of the 405 has a great food court with all kinds of Japanese Food available. The market has a great "to-go" sushi fare and in the early evening most of the sushi, made that afternoon, is marked down for a quick sale. I especially like the noodle shop closest to the check out stands of the Market, and their spicy Pork Noodles are terrific. More expensive and the best in the food court is the noodle shop in the middle of the court, about 3 stalls to the right of the first noodle shop, to the right of it, is a stall that has a great tempura, teriyaki combo, that I've enjoyed for years. Mitsua Market has wonderful desserts with shops specializing in frozen mochi and pastries, as well as fare only found in Japan. In fact, going to Mitsua is to be transported to an authentic Japanese SuperMarket and Food Court.
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Reviews & Ratings

23 ratings
4.5 average rating
  • 16
  • 5
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34 events
8 reviews
4 stars
attended May 24 2009

this is my 4th attempt with goldstar and the others haven't gone well. either they advertised the wrong time or the seats were bad or it was a bad event. this however was extraordinary. i would have paid more for better seats but this is all they...continued

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31 events
24 reviews
2 stars
attended May 24 2009

Awful choreography and concept. I left at intermission.

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24 events
9 reviews
3 stars
attended May 20 2009

The ballet story was very depressing, somewhat hard to follow. The dancers were amazing. Not sure if I would recomend this to my friends.

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More Information


Artistic Director and Choreographer of The Eifman Ballet of St. Petersburg, Russia, Boris Eifman is presenting the Southern California premiere of Onegin, a powerful new interpretation of Alexander Pushkin’s classic, Eugene Onegin. The story was originally set in the 19th century against the opulent backdrop of the Russian Empire, but in Eifman’s inimitable and perceptive choreographic style, he has set Onegin in today’s world: “I transported Pushkin’s characters to our times, placing them in new circumstances, more dramatic, even extreme, when the old world is collapsing and life dictates new rules. …What would the novel’s characters do with their lives today? I needed that experiment in order to answer the question that troubles me: what is the Russian soul today?” Free Preview Talks with Dianne Howe, Ph.D. will be held one hour prior to each performance.

Additionally, the Eifman Ballet of St. Petersburg is performing at the Center on May 21 as part of Tour de Force: A Gala Dance Spectacular. For that event, the company is performing excerpts from several of its most renowned works and Eifman is creating a special new work, titled Fallen Angel, to be performed by Nikolay Tsiskaridze. From classic pas de deux to contemporary, beginning at 7:30 p.m., Tour de Force will be a never-to-be-forgotten array of glorious dance artistry and genius.


A young woman’s infatuation meets an aristocrat’s insensitivity in this retelling of one of literature’s most passionate and poignant love stories. In Eifman’s telling, Eugene Onegin is a dashing rogue who toys with the affection of Tatiana, a shy and impressionable country girl. Though Tatiana falls hopelessly under his spell, Onegin mercilessly rejects her, only to recognize his true feelings many years later. As the tale continues, the jaded aristocrat comes to regret his spurning of the lovelorn girl. Onegin’s dramatic declaration of devotion to Tatiana – now married and a member of St. Petersburg’s glittering social scene – ultimately culminates in remorse, heartbreak and love unfulfilled. In the ballet, Eifman explores the turn of events with psychological acuity and emotional drama.

Sumptuous costumes, magical staging and atmospheric lighting generate a theatrical spectacle in which the dancers in the corps de ballet ebb and swirl with dramatic intensity, while the soloists embody their characters with artistic integrity and emotional truth.

Boris Eifman

Having created more than 40 ballets, Boris Eifman is one of the few Russian choreographers to have sustained such a prolific creative life in recent decades. Eifman has received Russia’s prestigious Golden Mask Award for both his works and his lifetime achievement in contemporary choreography. He is also a four-time recipient of the St. Petersburg theater award, The Golden Sofit. His other awards and distinctions include the Triumph Award, the Russian state award for his contribution to the development of the performing arts, induction into France’s Order of Arts and Letter; the distinguished title of The People’s Artist of Russia and a professorship at the Vaganova Academy of Russian Ballet.

In 1977, Eifman founded The New Ballet of Leningrad (now known as the St. Petersburg State Academic Ballet Theater, or Eifman Ballet) – Russia’s first and only ballet theater dedicated to performing works by a single choreographer. He is noted for creating original choreographic works based on classical ballet and infused with the spirit of contemporary choreography.

Eifman’s artistic philosophy is rooted in contemporary issues. Immersing himself in the dark and daunting realm of the human psyche (The Idiot, Murderers, Don Quixote, Red Giselle and Russian Hamlet), Eifman creates classic examples of psychoanalysis on stage. He shows extreme states of being, seeing the madness of his characters as mental illness, but as a unique ability to access other worlds and dimensions. He plunges into the depths of today’s most relevant philosophical and spiritual questions – which were the basis for Russian Hamlet, Don Juan and Moliere and Who’s Who. In 2002, Eifman created the one-act ballet Musagete for New York City Ballet as part of the George Balanchine Centennial Celebration program. In creating his style, Eifman worked through many paradigms and styles of movement, turning his theater into a creative lab for exploration and discovery. Concerned above all with the theatrical impact of his productions, the choreographer does not restrict himself to the

conventions of pure classical ballet. His works are each a complex, all-encompassing spectacle, constantly revealing new forms and principles of dancemaking. Eifman creates his own type of theater – a theater ruled by emotion.