In a fascinating coincidence, La Jolla Music Society presented two dances this season by a noted choreographer using music from the 1960s, and the two couldn’t have been more different. Paul Taylor’s vapid “Changes,” shown here in January, used music by the Mamas and Papas (seriously?) and reduced the 60s to hippie chicks and bell-bottoms. “Pepperland,” in happy contrast, is a work of substance, a celebration of the youthful creativity and idealism of the 1960s … and a profound, important reflection on what became of those dreams.

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Litvak Dance may be a newborn, but there were no tentative baby steps in the repertory company’s sold-out debut concert last weekend. Litvak exploded onto the stage at UCSD’s Molli and Arthur Wagner Theatre with assured dancers performing work by four choreographers, shifting deftly between styles. And the closing piece by artistic director Sadie Weinberg was so glorious and theatrical, it begs to be shown on a larger stage.

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The Live Arts Fest put on by Jean Isaacs San Diego Dance Theater is truly a shoestring event—on Saturday, Isaacs was working as a stagehand, handling props. So it’s all the more remarkable that the ten-day festival offered a rich palette of work by international artists, including Christine Dakin, longtime principal with the Martha Graham Dance Company, doing Graham’s legendary solo, “Cante Jondo.”

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As Albrecht’s deception was revealed, Breschi squirmed with a delicious caddishness I hadn’t seen in this role. And when he got on his knees and begged Giselle’s mother (Kimberly Roberts) for forgiveness, wow! She rebuked him with such sharp gestures, I thought she was going to rip him limb from limb—and I hated Albrecht so much, I wanted her to do it.

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