WILLIAM FORSYTHE’S PAS/PARTS 2016 begins like an about-to-happen assignation at the bottom of an abandoned swimming pool. The air is dusky blue; the mood is at once alienated and electric. A lone woman is still, and then gloriously in motion, kinetic impulses flickering and undulating through her body with crystalline propulsion.
The woman is Sofiane Sylve, the imperiously grand San Francisco Ballet principal. She is the cold-hot center of this episodic ensemble ballet and, like Thom Willems sinuous, spectacle-courting score, she is only warming up.
Forsythe made Pas/Parts for the Paris Opera