By: Kyrie Sismaet By: Kyrie Sismaet | March 28, 2022 | People Culture Fashion Art Events Entertainment
After being delayed from its original planned date of January 27th, the highly anticipated gala returned Thursday, March 24th, welcoming more than 3,000 guests back to the City Hall and the War Memorial Opera House.
Fittingly themed “La Grande Fête,” the resplendent evening not only produced an ensemble of dazzling outfits, but also history as the highest-earning gala for the first time in its 89 years.
More than $3.3 million was made and donated to local educational and art programs, as well as to aid student dancers’ housing costs. Although delayed to the middle of its performing season, these proceeds noted a powerful comeback for both the SF Ballet and San Francisco’s revitalizing nightlife since the onset of COVID.
La Grande Fête was also significant as it not only marked the retirement of Helgi Tomasson after 37 years as the SF Ballet's Artistic Director, but also the beginning of Danielle St. Germain-Gordon’s role as the newly inducted Executive Director. Spanish dancer Tamara Rojo will follow as the succeeding artistic director, eliciting another prestige as the SF Ballet’s first fully-female leadership in all of its 90 years.
Tomasson addressed his departure on stage and thanked the crowd for their enduring loyalty before dedicating the 90-minute performance to Ukraine. He elucidated that two of the four new ballets were choreographed by Alexei Ratmansky and Yuri Possokhov, who were raised there and currently have families in the war-torn country.
“We need art more than ever before, not only in this country but in the world,'' Tomasson emphasized in his legacy speech, “it’s a great healing process.” After asking the audience to donate to Ukrainian refugees, he introduced Musical Director Martin West and the orchestra in performing the Ukrainian national anthem with the flag projected behind them.
The ongoing war in Ukraine was evident throughout the night, as many adorned the flag’s blue and yellow national colors as reminders, all from ribbons to gowns. A headpiece akin to the country’s traditional floral crowns was worn by Tanum Davis Bohen, while Dr. Kerstin Rosen stood with a large flag that read “I stand with Ukraine.”
The topical acknowledgment of the international affair was just one of many details that established the gala as distinct from all its preceding iterations. With a new format this year, dinner came after the Opera House’s Champagne reception and performance.
Parisian-inspired floral displays designed by J. Riccardo Benavides garnished the House’s lobby, while “Don Quixote,” one of Tomasson’s favorite ballets, themed City Hall’s interior decor.
Similarly fashioned were the guests in attendance, fully embodying and maximizing the “festive attire” dress code. A few of the most notable figures in exquisitely creative and opulent wardrobes were KPIX journalist Betty Yu in a vibrantly royal purple gown, artist Kate Tova in graceful pink tulle, and Principal Ballet Dancer Benjamin Freemantle in a sheer ruffles and a leather high waisted pant combo.
See also: All The Most Stunning Fashion Worn At SF Ballet's “La Grande Fête" Gala
Additionally, dancers Max Forman-Mullin wore iridescent Barabas athleisure and Christopher Ouellette an androgynous tuzedo-gown, and choreographer Thatcher showcased a yellow statement harness.
Even San Francisco native and House Speaker Nancy Pelosi attended wearing shimmery gold.
The night was equally elegant as it was creative, bittersweet as it was encouraging, and nostalgic as it was prospective, reassuring San Francisco that the arts and ballet will continue to persevere and inspire.
Photography by: Kazuo ota/Unsplash
