Venue Details

Yerba Buena Center for the Arts Theater
700 Howard St. San Francisco, CA 94103
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Alonzo King’s choreography interlinks the dancers in dynamic, ever-changing patterns that stretch into graceful attenuation before they fluidly transform. Gathering energy from the extension of pure lines into concentric circles, the dancers emerge from interludes of rhythmic intensity into serene, lyrical grace.

_Following the Subtle Current Upstream
_Music: Zakir Hussain, Miriam Makeba, Miguel Frasconi

This spring marks the Company Premiere of Alonzo King’s Following the Subtle Current Upstream, a work hailed by the New York Times as “spectacular in its visual and kinetic impact.” Tremendously popular since its creation in 2000, it has toured the world as part of the repertoire of the Alvin Ailey American Dance Theater.

Without Wax pas de deux
Music: Bohuslav Martinu

Behind this title is a story about the origins of the word sincere: that it derives from the Latin sine (without) + cera (wax), because master sculptors and stone-crafters could work flawlessly, without the need to disguise any cracks in their pieces with wax. In 1992, this ballet became part of the repertoire of the Ballet Frankfurt

Soothing the Enemy
Music: Leslie Stuck

This piece, which premiered in 2000, is the first collaboration between Alonzo King’s cutting-edge choreography and Leslie Stuck’s experimental electronic music. Playing with the elastic potential of percussion and a daring, deft sense of transformation, Leslie Stuck’s music gives the dancers a limitless space in which to move. “The great challenge of this first collaboration,” Leslie Stuck says, “was that Alonzo values authenticity, and that is so difficult to achieve with a computer. What finally worked for me was imagining a lone musician playing on a mountaintop, with the wind replying.”

More to Explore

<em>The Encounter</em> <em>Cinderella</em> Yoshi's Oakland Yo-Yo Ma, Edgar Meyer and Chris Thile <em>Beach Blanket Babylon</em> <em>Hershey Felder as Irving Berlin</em>