The Alchemy of Dance

Evenings with State Street Ballet in a studio setting 

By Danaë Petsimeris

Photographs by Andre Yew

One of my favorite ways of spending an evening is to take in the wonders of a live dance performance. On March 28th I was reminded of the alchemy of dance while watching Evenings, performed by State Street Ballet (SSB) at the Gail Towbes Center. In the purity of a studio setting, spectators were offered the opportunity of a more intimate experience, being encouraged to focus on the coming together of movement and music. 

Evenings happens two nights a year, when seven dancers from State Street Ballet (SSB) perform work they have collectively self-choreographed. The audience is invited into the studio, the nerve center for hours of rehearsals,  to witness seven original works unfold. What makes Evenings so special is that each choreographer is given SSB dancers, a stage, costumes, lighting, sound—and, most importantly time and space—to explore movement in narrative form.

In Rasa dancers wore red mesh skirts paired with elegant red choker necklaces—both designed by choreographer Amber Hirschfield herself. Meetings Along the Edge by Philip Glass and Ravi Shankar was a dance brought to life by movement that illuminated every note. Breath-holding arabesques mirrored the lyrical pull of the violin. These were followed by a classic pas de couru, that captured the music’s rising tempo and emotive transition. Built around a strong rhythm, the dancers in this piece moved in perfect synchrony, striking a captivating balance between stillness, flow and speed. 

Maria Rita Rapsarda transported us to Sicily with vibrant, patterned dresses and straw hats, capturing the warmth of a Mediterranean night. Through the choreographer’s re-imaging of her mother’s youthful years, the dance swept us into the glittering world of 1980s Italo disco. The movements radiated flirtation, connection and desire—I was convinced that I could feel the pulse of an open-air nightclub under the Sicilian stars, as the taste of the bittersweet fizz of a Spritz mingled with sea salt on my lips.

A personal favorite of mine was Still Life, choreographed by Arianna Hartanov. The dancers wore pastel dresses that echoed the soft tone of the work, that was highlighted by the clarity and control of the legwork. Arianna took inspiration from still life paintings and the quiet rhythm of Santa Barbara: “Santa Barbara has a lot of slow moments—you can appreciate the sound of the ocean, the temperature of the air. There’s a flower blooming in every season. Right now, it’s the wisteria. Little things you can latch onto that bring you joy, and you don’t have to work hard for them.” The choreography, linked painting, music and motion, setting the dancers afloat across the stage like wildflowers. Arianna approached ballet through a contemporary lens—each shape flowed into the next, creating an aerial mood.

Brenna Chumacero captured this flow. Her movement was calm and precise, as weight travelled seamlessly through her body. The craft of dance was laid bare as each step and gesture connected to the next.  Watching her lifting one leg, turning, staying grounded while changing position was captivating. Still Life was an invitation to notice the small things, to slow down and find meaning in the details. This piece sparked hope, and a desire to move slowly, with control, and always in flow.

State Street Ballet will be performing ‘The Brilliance Program: Balanchine, Arpino, and Beyond’ on May 9th and 10th at the Lobero Theatre.  Tickets here.