But it’s unfortunate the comely Yvette wears a rather drab costume rather than one that accentuates her figure. Ado Annie is supposed to be a flirt, not so easy when she’s in a plain dress best ballet flats for walking. That’s actually a problem with most of Valerie Emmi’s costumes for women. Laurey never gets out of an ordinary white blouse and blue peasant skirt until her wedding day, and the costumes for the female ensemble range from a high-necked, unadorned blue dress to another that looks as if it’s borrowed from one of the orphans in the show “Oliver.”..
There’s one female dancer’s dress that stands out — but that’s likely because the dress is a brilliant orange-gold, quite a contrast from the mostly muted tones of the other dresses. Odd, because Emmi’s cowboy and farmer outfits for the men are just fine best ballet flats for walking. Then there’s scenic designer Kelly James Tighe’s set. Adequate, yes, but not much more than that (the “sky” backdrop is strangely wrinkled). There’s certainly a lot of corn growing about as high as an elephant’s eye and the interior of Jud’s shack (called The Smokehouse) has an authentic look. But Laurey’s house shakes when actors go in and out the front door and the second-story roofline seems off-kilter. There’s also little to distinguish between Laurey’s ranch, another ranch and a grove near the ranch. And what’s with little walking fences of wilted corn (or are they cornflowers?)?..
It’s also inexcusable that the audience can see actors coming and going off stage. All that’s required is a black curtain to cover them for their entrances and exits. That’s Stagecraft 101. Some of choreographer Camille Edralin’s dance routines work well, although it’s the numbers like “Kansas City” and “The Farmer and the Cowman” featuring mostly male dancers that are best. Fight scenes look reasonably real, thanks to director Marx, who is also listed as the fight choreographer. Jon Hayward’s sound is consistently clear, and it’s hard to fault Andrea Schwartz for the poorly lit scenes in Jud’s smokehouse, because it’s likely the director’s decision best ballet flats for walking.
Details: Through July 3, War Memorial Opera House and AT&T Park, San Francisco; ballpark simulcast is free, other productions $26-$395; 415-864-3330; www.sfopera.com. Details: Through June 12, various Berkeley venues; $15-$56; 510-528-1725; www.berkeleyfestival.org. Details: June 16-18, UC Berkeley campus; $20 single tickets, $45 all-events pass; 510-642-9988; www.calperformances.org best ballet flats for walking. Details: July 4-29, Davies Symphony Hall, San Francisco; $15-$140; 415-864-6000, www.sfsymphony.org. Details: July 13-30, various Carmel venues; $10-$128; 831-624-1521, www.bachfestival.org..
Details: July 15-24, various Napa Valley venues; passes $25-$2,700; 888-337-6272; www.festivalnapavalley.org. Details: July 15-Aug. 6, various South Bay venues; $20-$72; 650-331-0202, www.musicatmenlo.org. Details: “Transformations” July 21 and 23, “Cosi fan tutte” Aug best ballet flats for walking. 4 and 6, San Francisco Conservatory of Music; Merola Grand Finale Aug. 20, War Memorial Opera House, San Francisco; $15-$50; 415-864-3330, www.merola.org. Details: July 30-Aug. 14, Oakland’s Abandoned Train Station, 18th and Wood, Oakland; $20-$96; 510-841-1903, www.westedgeopera.org..