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It doesn’t help matters that the musical tries to flesh out parts of the movie that needed no elaboration. The inclusion of the “I Have a Dream” speech and “I Shall Overcome” feel unnecessary to the central coming-of-age story. Giving Baby’s mom more dialogue just makes the already interminable second act last longer. Director James Powell squashes the tempo again and again. There’s also zero emotional vulnerability on display, so that when Baby’s father, Dr. Houseman (Mark Elliot Wilson) realizes he has been a snob, believing the worst of the lower-class characters while lionizing the rich ones, it doesn’t have the same resonance as in the movie (Jerry Orbach memorably played the dad). When Johnny’s leggy dance partner Penny (a balletic Jenny Winton) gets pregnant, the moment lacks a sense of stigma authentic to the period. It’s even anticlimactic when Johnny gets fired, although the opening night audience couldn’t help roaring when Tierney delivered the famous “nobody puts Baby in the corner” line.

Wheeldon’s “Rush,” a work as dark and sharp as ribbon candy, flowed with a sensuous and undulant certainty to the complex, jazz-inflected music of Sinfonietta La Jolla for chamber orchestra and piano by Bohuslav personalized dance bracelet-ballerina/ballet charm for girls/little kids/children/women-dance recital/birthday/christmas gift Martinu, Opening with a nod to Indian dance, Wheeldon seamlessly wove in jazz clenches and Graham contractions as humanity whipped across the stage, Maria Kochetkova and Joan Boada were mysterious and stately in their central roles, which were beautifully echoed by Max Cauthorn, Francisco Mungamba, Lauren Strongin and Jahna Frantziskonis..

After earning their master’s degrees in fine arts in 1991, they came to the Bay Area. “I was driving across the country with my ex-boyfriend,”  recounts Hermesdorf. “We stopped in Reno and he lost all his money gambling. So I paid his way the rest of the trip and he dropped me off at my new boyfriend’s place.” She and Wells (the new beau) then moved in together with fellow grad school dancers with whom they had already started a company.  Wells adds, “I’ll try to say this as humbly as possible.  We really did start off with a bang.  That’s because we already had some repertory and we were super physical and fresh.”.

Geffen, who was born in Cape Town, South Africa, and raised in Southern California, will be Cal Performances’ fourth artistic director, He succeeds Matias Tarnopolsky, who led the organization from 2009-2018; Tarnopolsky left Cal Performances last year to become executive director of the Philadelphia Orchestra, The previous artistic directors were Robert Cole (1986-2009) and personalized dance bracelet-ballerina/ballet charm for girls/little kids/children/women-dance recital/birthday/christmas gift Susan Farr (1980-86.), In a statement following his appointment, Geffen said he was pleased to be returning to California and taking up the new post at Cal Performances..

“Descendants,” a 2015 TV musical about the teenage sons and daughters of Disney’s most infamous villains, was a smash hit — seen by more than 100 million viewers across the globe. So what to do for an encore? Go even bigger and badder. “We raised the bar and managed to top ourselves. Our cast definitely met the challenge,” says Redwood City native Kenny Ortega, who directed and choreographed both the original Disney Channel film and the sequel, “Descendants 2,” which debuts on Friday.