Hans van Manen's Grand Dutch Mastery

150 Ballets, 92 trips around the sun, one-of-a-kind dancemaker

I’ve seen Hans van Manen’s choreography before, when his Netherlands Dans Theater visited New York, generally one piece in an evening’s repertory. But that was only half a van Manen loaf, somewhat obscured amidst all the other tasty ballets on offer. Similarly at San Francisco Ballet, where four of the works in this tribute have long been in the company’s repertory. What a treat to be allowed to appreciate them en masse during the company’s just-completed season at the War Memorial Opera House.

“Van Manen: Dutch Grandmaster” was a standout tribute amid a spate of ballets generally—and quite practically—chosen for their audience appeal. Liam Scarlett’s very full-length “Frankenstein,” for instance, a repeat from last year and a pop hit, despite its tendency to dawdle on delivery. “Manon,” a delightfully soapy outing by Kenneth MacMillan.

Van Manen’s choreography is a harder sell: short on narrative, long on brainwork, impactful emotional intimacy and witty surprises, and well worth your investment. Delivered in frou-frou-free stage settings, the works feel sleek and direct. The program consisted of four ballets, listed here by date of their San Francisco company premieres: “Grosse Fuge” (2004),“Variations for Two Couples,”(2014), “Solo” (1999), and “5Tango’s,” which premiered at the troupe’s “Starry Nights” show in July, 2024 at Frost Amphitheater.

Van Manen at 92 is no longer (at least at this moment) choreographing—he’s made 150 ballets—but remains an active steward of his works, delivered to 90 ballet companies around the globe. Staged for San Francisco by van Manen’s designated “dance muse” Rachel Beaujean, the program highlighted the company’s expansive range, precision and zest under Artistic Director Tamara Rojo.

“Grosse Fuge,” the opener, set to Beethoven, brilliantly encapsulates the simple complexity of van Manen’s creations. Shattering expectations by dressing the four women in white lingerie, the four men in long black skirts, immediately raising the question, “Where can we go from here?” and dazzlingly unspooling the answer, “everywhere.” Athleticism challenges conventionality as women’s strength and sudden dominance is surprisingly feminine, and the men’s vulnerability—dropping those skirts for wee briefs — seems surprisingly, fittingly masculine. You know what they say; if you want to send a message, use Western Union. Here the artists are supplely, aerially, earthily and oh so enigmatically the message; the takeaway is up to you. The fantastic dancers were Jennifer Stahl and Max Cauthorn, Wona Park and Wei Wang, Nikisha Fogo and Aaron Robison, and Dores Andre and Fernando Carratala Coloma. Musical diredtor Martin West conducted the San Francisco Ballet Orchestra.

“Variations for Two Couples,” which I’ve reviewed elsewhere, is a miracle of audacity, the latter facilitated by a simple ballet barre and an amazing combination of balance, grace, power and nerve. In part one, Joseph Walsh is the pusher and Frances Chung the pushee, although it’s great when she takes command of the sliding on top of that skinny bar and he has no choice but to anticipate her every move. In part two, with no barre held, Sasha Mukhamedov and Aaron Robison are more grounded, still splendid. So is the music mashup, ranging from British Britten and Bach to Einojuhani Rautavaara, a Finn, with other stops along the way.

“Solo” has become a renowned and magical men’s trio, here starring Cavan Conley, Victor Prigent and Alexis Francisco Valdes. Bach, buoyant, brilliant. Changeups prevail, through leaps, spins, jumps and petit point allegros. It’s over before it starts — no, wait, there they go again!

“5Tango’s,” possessing an eloquent compilation of the Argentine verities, traditional flamenco, tango dresses and all, is a little problematic in this context. It’s a cross between Dancing With the Stars and, when it reaches for contemporary ballet, Jeopardy; the contagious music, of course, is by Astor Piazzola, and it feels just slightly stereotypical. Maybe this is a hint of satire from the choreographer; maybe we’ve already had our heads stretched and are happy, if not ecstatic, to romp easily through the unexpectedly expected. The 14 superb dancers were led by Dores Andre and Esteban Hernandez.

-30-