By Emma Krasov
Based on Pushkin’s timeless classic, and brought to the stage in Yuri Possokhov’s choreography and Ilya Demutsky’s music, Eugene Onegin became a pinnacle of San Francisco Ballet’s 2026 program even at the very beginning of the season. Bold, innovative, and open to experimentation, SF Ballet attracted new audiences in recent years exactly due to its persistence on widely creative, imaginative approach to classic themes with the use of established techniques, distinguished masters, and outstanding talent.
A famous novel in verse from the 1830s, written by Alexander Pushkin, the indubitably acknowledged “Sun of Russian poetry” and the modernizer of the literary language, is so much rooted in the said language, the poet’s clear and simple wording, melodious rhymes and rhythms, that transforming it into movement seems almost impossible… Not to the SF Ballet Choreographer-in-Residence Yuri Possokhov, whose earlier works include amazing, highly emotional ballets, adapted from complex literary works, like Senseless Kindness (2020), based on the novel Life and Fate by Vasily Grossman, Leo Tolstoy’s Anna Karenina (2019), Mikhail Lermontov’s A Hero of Our Time (2015), and SF Ballet’s mesmerizing Swimmer by John Cheever (2015) that even ten years past its production, stays emblazoned in this reviewer’s memory.
While inevitably losing some of the novel’s defining features, like the profound irony and light, sparkling humor, imbedded in young Onegin’s image and life circumstances, the ballet nevertheless follows the main plotline of two parallel love stories, two opposing, brightly depicted female characters in their lyrical expressions and romantic aspirations, hopes and struggles, and fateful events, both carefree and tragic. While it would be hard to pick up the most impressive moments from the show, since they all are equally engaging and exciting, I’d say, the scenes of divinity of fates, Tatiana’s dream, and the duel are positively breathtaking (however trite that sounds). A wonderful finding is the anthropomorphism of the four seasons that beautifully marks sharp turns in the storyline in the exquisite, effervescing way.
The SF Ballet’s world premiere of Eugene Onegin, co-produced with The Joffrey Ballet, became an unforgettable theatrical sensation also thanks to Possokhov’s and Demutsky’s co-creators and their superb and dedicated work: libretto by Valeriy Pecheykin, scenic design by Tom Pae, costume design by Tim Yip, lighting design by Jim French, projection design by Finn Ross; choreographer assistants Frances Chung and Adam Blyde, drama couch Javier Galito-Cava, project manager Donna Bachman.
Conducted by Martin West, San Francisco Ballet Orchestra.
On the day of my attendance, the leading parts were performed by the following cast of outstanding dancers: Eugene Onegin—Joseph Walsh, Tatiana Larina—Katherine Barkman, Vladimir Lensky—Wei Wang, Olga Larina—Wona Park, Prince Gremin—Harrison James, Praskovya Larina—Joanna Berman, Zaretsky—Andris Kundzins, Filipyevna, the Nanny—Katita Waldo. Narrator: Alex Jennings.
The ongoing SF Ballet’s season promises to be the one not-to-be-missed! Balanchin will be on stage February 10-15, followed by Forsyth’s The Blake Works on February 27-March 8, Don Quixote March 19-29, La Sylphide, April 10-16, and Mere Mortals, April 24-May 3.
When planning your trip to San Francisco, learn more about the 2026 season, and get tickets at https://www.sfballet.org/2025-2026-season/.
Photos:
- San Francisco Ballet in Possokhov’s Eugene Onegin // © San Francisco Ballet, photo by Lindsey Rallo
- Katherine Barkman in Possokhov’s Eugene Onegin // © San Francisco Ballet, photo by Lindsey Rallo
- Joseph Walsh in Possokhov’s Eugene Onegin // © San Francisco Ballet, photo by Lindsey Rallo
- Katherine Barkman and Joseph Walsh in Possokhov’s Eugene Onegin // © San Francisco Ballet, photo by Lindsey Rallo
- Joseph Walsh in Possokhov’s Eugene Onegin // © San Francisco Ballet, photo by Lindsey Rallo
Real Travel Adventures 