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Janice Berman

Janice Berman was an editor and senior writer at New York Newsday. She is a former editor in chief of Dance Magazine.

Articles by this Author

Feature Article
March 2, 2012

What can you say about a dance company in fewer than 140 characters?

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Dance Review
February 25, 2012

In “Story/Time” Bill T. Jones uses chance, dance, music, and narrative to make every minute count.

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Artist Spotlight
February 23, 2012

Inspired by the work of John Cage, a noted choreographer’s Story/Time didn’t happen merely by chance.

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Dance Review
February 18, 2012

In a program highlighting Yuri Possokhov’s gifted choreography, the San Francisco Ballet has a dance with Dante.

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Dance Review
February 14, 2012

The San Francisco Ballet presented a varying program — ranging from Mark Morris' Beaux and wayne McGregor's Chroma to Christopher Wheeldon's Number Nine — that seemed oddly fitting for the day it fell on, Valentines Day.

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Feature Article
January 6, 2012

After half a year of mystery and doubt, the company's executive director begins to clarify the direction the company will take, its new partnership with American Ballet Theatre, and the season it will present.

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Dance Review
December 9, 2011

Helgi Tomasson's Nutcracker at the S.F. Ballet goes straight to a little girl's dreams with amazing design, realism, superb dancers, and the perfect tale to leave audiences enthralled.

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Feature Article
December 9, 2011

Mystery surrounds a noted ballet company’s plans for 2012 and extreme restrictions on its longtime artistic director.

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Dance Review
November 1, 2011

Merce Cunningham requested that his dance company disband after his death. On their final appearance at Stanford Lively Arts, the troupe performs his last work beautifully.

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Feature Article
October 27, 2011

Auguste Rodin and Isadora Duncan, both pioneers of natural movement in the arts, were natural allies. Now former ballet dancer Muriel Maffre looks at that revolution through a class connected to the new Rodin Exhibition at the Cantor Museum.

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Dance Review
October 14, 2011

Resin — a stunning new ballet created for the Alonzo King LINES Ballet — is a cohesive suite of dances that is continuously spellbinding with dancers who are glorious interpreters and enhancers of rhythm and melody.

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Archive Review
September 30, 2008

Mark Morris has said that one of the things he finds puzzling about Romeo and Juliet ballets is that when the couple awakens after their night of nuptial passion, Juliet's still wearing toe shoes. When modern choreographers snipe at toe shoes, they're drawing distinctions between ballet's contrivances and modern dance's lack thereof. With Romeo and Juliet, On Motifs of Shakespeare — copresented last weekend by Cal Performances at Zellerbach Hall — Morris clearly wanted to bring R&J down to earth.

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Archive Review
May 6, 2008

Were it not the brainchild of Artistic Director Helgi Tomasson, a festival marking the San Francisco Ballet's 75th anniversary by presenting 10 new ballets in one week (three programs in all) would be regarded as a fool's errand. Some fool. Some errand.

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Feature Article
April 15, 2008

It’s not that unusual, not anymore, for a ballet company to commission a dance from a modern choreographer. But in the case of Margaret Jenkins, the renowned dancemaker whose eponymous modern company has dwelt cheek-by-jowl with the San Francisco Ballet for the last 38 years, Artistic Director Helgi Tomasson’s invitation to work with his troupe is something of a landmark moment.

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Feature Article
March 25, 2008

Like freelancers in other fields — journalism comes to mind — Laura Jackson, one of the six finalists in the Berkeley Symphony Orchestra’s search for a music director to succeed Kent Nagano, flies in, forges bonds, does her job, and moves on. What she’d like to do is find a place where she can stay.

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Archive Review
February 19, 2008

At opposite sides of the Bay over the weekend, two productions of Giselle highlighted two ballerinas who are, in effect, at opposite ends of their careers. Nina Ananiashvili, artistic director of the State Ballet of Georgia and in her 40s, danced the title role Saturday night during the troupe's Cal Performances engagement at UC Berkeley's Zellerbach Hall.

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Archive Review
February 5, 2008

Virgil Thomson isn't the composer who pops automatically to mind when you think of dance, but he was a major presence at San Francisco Ballet over the weekend.

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Archive Review
January 29, 2008

Predictably, the two versions of Merce Cunningham's eyeSpace seen on consecutive nights of the Merce Cunningham Dance Company's engagement at Stanford University last weekend, presented by Stanford Lively Arts, looked so different from each other as to be separate creations. What was less predictable was the difference in their affect, their effect. One of the things, it seems, about Cunningham dance is that for all its still-fresh unorthodoxy — this, after 54 years of the company's existence — it has things to teach us about how we see all dance, all art.

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Feature Article
January 22, 2008

The Merce Cunningham Dance Company, as has become widely known, does not dance to music, nor does the music play for the dancers. Both exist in the same time frame, but they're created separately, as are lighting and decor. When movements or sounds will occur are determined randomly, using chance methods that go back to the earliest collaborations between Cunningham and John Cage.

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Feature Article
January 8, 2008

As we begin the new year, San Francisco Classical Voice takes a look back at the performances of 2007 that some of our reviewers most enjoyed. As with any such list, the choices are entirely subjective. Each of these critics attended a large number of performances in their areas of specialization throughout the year, and so was able to choose from a broad range of music (in some cases, listing events they attended but that another SFCV critic reviewed).

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