Here is an interview with Rory Hohenstein which appeared in the SF Chronicle's Sunday Datebook:

http://sfgate.com/cgi-bin/article.cgi?f=/c...PKGFCOTKQ61.DTL

Good article, and thanks.. It has a reference that applies to one of our current threads on the Dancers forum, about the qualities that make certain dancers great."I don't know the technical term for this kind of illusion, but it's one that always captures and holds my eye when I notice it on stage (though much less frequently in the studio).

I hope our SF contingent willl report on Hohenstein's Man in Red (Elemental Brubeck), a real winner of a role.

It's great that she did this article about him -- he's become a mesmerizing performer, almost seems to be swimming in the air, like he's got some special purchase on it other people don't have.

I haven[t seen him in the Brubeck yet, but I believe everything she says, sicne I've seen those qualities in the Forsythe, and in a new little ballet by Julia Adam -- and it would be FABULOUS to see the music rippling through the principal dancer in this piece....

I saw both Garcia and Hohenstein in Elemental Brubeck, and even though I know the part was more or less created for Garcia, I thought Hohenstein danced circles around him. He has the ability to do that sort of loosey-goosey Fred Astaire kind of movement that so many ballet dancers just can't do.

Hohenstein is definitely on a star path. I'm watching him with interest.

Talespinner, I totally agree with you -- and he's really raised the ballet in my estimation. WIth him in hte role bringing the piece to a real focus, I get so happy it looks like the best thing in a jazz style since "Company B." FYI, here's what I wrote about it for SF's gay weekly paper.


"From the look of it Saturday afternoon, the kids who dance it best are probably the second cast. Everybody gets it, the idiom is theirs, and they were out there tearing it up. Rory Hohenstein (the Boy in Red, who dashes in and sets the tone for each section with dazzling virtuoso material) has totally got the boogie in his butt; watching the rhythms go snaking up and down his spine and out his arms was fantastically satisfying. He can do the big ballet tricks and make them musical, hold the finish of a pirouette, stay up until it seems a miracle, then bite it off right when the saxophone does. Unlike Gonzalo Garcia, on whom the piece was made, who obviously digs doing all these interesting moves but seems never to have seen or heard of them before, Hohenstein looks like he's talking his mother tongue."

http://www.ebar.com/arts/art_article.php?s...ance&article=64