San Francisco Ballet’s choreographer-in-residence Yuri Possokhov has created a free-spirited, crowd-pleasing “Eugene Onegin.”
Set to a dramatic yet always lovely score by Possokhov’s Russian compatriot Ilya Demutsky, the new production, which debuted Friday night at the War Memorial Opera House, appealingly retells Alexander Pushkin’s classic 19th century novel-in-verse. Here, the love-rectangle with the titular anti-hero unfolds in four acts, with each representing a season.
Bolstered by well-appointed, well-balanced production values that don’t overtake the movement and music, and dynamic orchestral accompaniment led by Martin West, this “Eugene Onegin” is engaging throughout. It never feels like stuffy Russian ballet; at times it’s reminiscent of the ballets from the golden age of movie musicals.
San Francisco Ballet’s always gorgeous dancers turn up the acting skills, too, bringing the drama to life. On opening night, in the first of the engagement’s four casts, Joseph Walsh nailed the troubled title character, complemented heartily by the three co-leads: Katherine Barkman as Tatiana, the bookish young girl he rejects (San Francisco Ballet Artistic Director Tamara Rojo danced the role in John Cranko’s Royal Ballet “Onegin” in London in 2001); the fluttery Wona Park as Olga, Tatiana’s carefree sister who’s in love with Lensky, Onegin’s affable friend; and Wei Wang, equally strong as Lensky.
While the multiple duets between the principal characters reflect their changing feelings, the group scenes with the corps are perhaps more thrilling, including a second act dream sequence in which Tatiana is spooked by creatures (a bear turns out to be Onegin); and the welcome appearances of colorful sprites, who fluidly usher in the seasons. Tim Yip, an Oscar winner for art direction for “Crouching Tiger, Hidden Dragon,” created the eye-catching costumes.
Likewise, Tom Pye’s scene design, Jim French’s lighting and Finn Ross’ projections enhance the production with just the right detail — the duel is particularly effective — and never seem overwrought. However, at one point, lines of poetry in English on a backdrop (libretto by Valeriy Pecheykin) were difficult to read from the grand tier seating.
And while some narrated poetry is perhaps a multimedia element of the production that felt superfluous, that wasn’t the case with respect to Onegin’s snowy harsh winter in the finale, a dramatic and fitting ending to the satisfying show.
San Francisco Ballet’s “Eugene Onegin” continues through Feb. 1 at the War Memorial Opera House, 301 Van Ness Ave., San Francisco. Tickets are $35-$555 at sfballet.org.
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