San Francisco Ballet has Pillow homecoming

San Francisco Ballet performed the heart-pounding "The Barre Project" by William Forsythe on Wednesday night at Jacob's Pillow. It was the company's first appearance there in 70 years. (Photo by Hannah Murphy)

Jacob’s Pillow marked a momentous occasion on Wednesday night with the return of San Francisco Ballet.

This wonderful company of artists, with the technical wherewithal to dance just about anything, hasn’t been to Terpsichore’s hallowed grounds since 1956. Thus, on its eagerly anticipated return, the company ensured it will not be soon forgotten. It blazed across the both the outdoor platform and the Ted Shawn Theatre stage with a hefty program of classics and contemporary works that demanded all eyes, at all times, and left every dance aficionado sated.

Also significant was the Pillow debut of the Albany Symphony Orchestra, which expertly accompanied the company playing selections from Ludwig van Beethoven, Ludwig Minkus, Alexander Glazunov and Peter Ilyich Tchaikovsky. Under the direction of David Alan Miller, few small city symphonies can master the range. As typical for them, they did.

But back to the amazing dancing on the stage. San Francisco Ballet is one of the oldest in America. Established in 1933 -- the same year as the Pillow -- the company is directed by Tamara Rojo who is keeping this singular west coast ballet ensemble in fine form.

Their week-long stay includes classical pas de deux from Petipa’s “Don Quixote” and “Raymonda” (the latter updated by Rojo) along with the sparkling royal pas de deux from George Balanchine’s “Diamonds.” Those are juxtaposed with an excerpt from Akram Khan’s devastating “Dust” and Hans van Manen’s sculpturally striking “Grosse Fuge.” And it all ended with a William Forsythe finale that merged “Prologue” and “The Barre Project” to show off some of the 31 dancers’ fleet and flashy talents.

Forsythe’s pieces, like all of his works, challenge the dancers and often the audience. They are shadowy, giving his dances a mysterious air. Yet the structure is like a bustling avenue – bodies coming and going, pivoting, sliding and swaying off-kilter into a shimmering, action-packed kaleidoscope.

While Forsythe keeps minds racing, Khan’s works always land an emotional punch. The dark duet from  "Dust,” danced by Dores Andre and Victor Prigent, portrays an anguished couple struggling with an unseen enemy. It’s harsh, painful and leaves no ambiguity on the boards. Once again, Khan proves to be an important voice in the dance world.

The classical duets were sharp and fascinated with their various styles. The “Don Quixote” pas de deux awed with technical feats, while this updated “Raymonda” elevates the romance between Raymonda and her beloved. The elegant “Diamonds” duet won with its nod to ballet’s courtly roots.

The van Manen opener to Beethoven was striking for its own reasons – mainly for the contrast of black and white costumes and the perfect symmetry of all eight dancers when they peopled the stage.

Though my least favorite of the night, it again underscored San Francisco Ballet's remarkable versatility.