In an earlier work, "Death of an Era," a performance piece staged at California State University, Dominguez Hills, in 1980, Mr. Shuler dropped a specially constructed 20-foot steel nail through a Cadillac.
Still, revivals are tricky; modern dance can look dated with little effort, and at times the presentational style of "Mazurkas," a 10-section piece staged by Sarah Stackhouse, goes to a time-capsule place.
That was more of a chamber work, but this piece, staged in the company's handsome new performing space, has an epic scope, and the troupe, under the direction of Davis McCallum, fares less well.
But it has been threaded together with admirable facility, and the piece — staged against a black backdrop that sets off Nicholas Georgiadis's sumptuous red and gold costumes — works surprisingly well.
One ally was the Kurt Weill Foundation, whose president, Kim Kowalke, wanted to see the piece staged, ideally in 2000, the 100th anniversary of Weill's birth and the 50th of his death.
For all the family anguish that the movie unspools, the resolution that Bertolucci offers — a vast set piece staged around the rehearsal of an outdoor opera production — proves strangely normative, as if Bertolucci were out to prove that all happy families are alike.
Stanford had made many useful contacts during his months in Germany, and his friend the conductor Ernst Frank got the piece staged at the Königliches Schauspiel in Hanover in 1881.
"100% San Diego" by Rimini Protokoll: This was the only festival piece staged in a theater space, and the three-member German group did what it has already done in 15 cities.
It has a 12-piece stage band, a lighting designer to set the mood and three large projection screens.
The story moves jauntily, its set pieces staged with theatrical flair and its snappy dialogue recalling Ben Hecht's.
