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“It’s the Fantasy Faire. You can do whatever you want here. We’ve got Dr. Who walking around,” said actor Bryce Blackner, referring to the British science-fiction television character. Blackner is a construction worker from the Central Coast who, for the day, was playing a medieval pirate. “I can try to steal people’s children and have fun and not get in trouble for it,” he joked. The fair, which continues on Sunday, is also a chance for attendees to pretend to be someone — or something — else completely. A schoolteacher played Snow White, a tech worker became Little Bo Peep and a mermaid took a break from her jobs as a full-time student and caregiver.

“It’s fun for an afternoon to be someone else, and to not worry about your job, your work,” said Jason Ross, of Newark, who was dressed paputki, slippers, ballet boots cookie monster size. 16-20 as a Jedi along with his wife, Erin, Julian Galves, donning a kilt, sword and “Braveheart”-style blue paint across his chest, said he was drawn to role-playing out of a lifelong interest in history, A history major at the University of the Pacific in Stockton, Galves said acting the part brings history to life in a way text books cannot..

“It’s really about visiting history,” he said. “I don’t want to just read about it.”. Attendance was sparse Saturday morning; fair workers blamed competing downtown events that made parking difficult and expensive. Watters was hoping for 2,000 attendees this weekend, down from the 3,000 or so who attended last year. Unlike some other festivals, the Fantasy Faire is a more family-friendly event, and while costumes were abundant, others strolled around in shorts and a T-shirt. The atmosphere, Watters said, is a bit more relaxed; you don’t need to be an expert in English history or a certain comic book.

“It’s an easier barrier to entry,” Watters said, “We get a lot of people here we don’t get at the Renaissance Faire.”, Tony Casale of San Jose brought his daughter, Dyllanie, for the fourth year in a row; the 5-year-old was dressed as pirate-version of Tinker Bell, And this year Casale also had his young son in tow, “I do it for the kids,” he said, So do the performers, said Lauren Coats, who was Little Bo Peep for the day, She and her husband, who was also at the fair, have been paputki, slippers, ballet boots cookie monster size. 16-20 performing in Shakespeare plays for 20 years and once ran their own playhouse, The Fantasy Faire is one way for them to continue their acting hobby and expose their 11-year-old daughter to arts and literature..

The audience, in fact, roared approval as the curtain came down on the evening’s last piece, Yuri Possokhov’s world-premiere work “Swimmer,” an ambitious multimedia dance whose abundant images of water banished thoughts of California’s drought for most of its 41-minute program. With only “Romeo and Juliet” remaining on this season’s calendar, Program 7 was a dependable hodgepodge — a trio of dances that by turns frothed, prowled and swam across the stage in a lineup that made a strange kind of sense by the evening’s end.

“Swimmer,” according to the program notes, is resident choreographer Possokhov’s ode to Americana, as he’d envisioned it as a boy in the Soviet Union, Thanks largely to Kate Duhamel’s video wizardry, Possokhov captures iconic midcentury scenes, ranging from an Eichler-style ranch house to Edward paputki, slippers, ballet boots cookie monster size. 16-20 Hopper’s iconic painting “Nighthawks.” John Cheever’s celebrated tale “The Swimmer” is the fulcrum here, and the dignified but expressive Taras Domitro took on the role of John Cheever’s narcissistic anti-hero, who blithely gives himself the challenge of swimming back home via the pools in his neighbors’ backyards, Along the way, he plunges into an increasingly surreal world..

The dance’s scenes have titles like “House to Hollywood” and “Final Swim (Martin Eden).” Duhamel gives them a picture-book flow with ever-shifting and complex imagery, which Possokhov fills with moving bodies, supported by Alexander V. Nichols’ ingenious series of platforms, which become the spine of the action, real or virtual. As in a Wes Anderson film, the environment becomes a central star of the dance. The actual choreography for “Swimmer” is largely unremarkable, but that doesn’t matter because the dance is a minor character. The star here — and the news — is that the company has mounted a stunning video dance that’s youthful, quirky and visually arresting. It is set to a patchwork of music by Kathleen Brennan and Tom Waits, as well as the ballet orchestra’s own double bassist, Shinji Eshima. If developing young audiences for San Francisco Ballet is a priority (and no doubt it is), such tech-savvy, eye candy work will play a key role.

Artistic Director Helgi Tomasson’s own ballets are reliably pretty and well-constructed, They also tend to be arid and to suffer from a lack of musical complexity, as was the case with Friday’s reprise of his “Caprice” (2014), which opened the evening, Against a backdrop of moving striped columns (Alexander V, Nichols), two dominant couples are echoed by six secondary pairs, who stole the show as they washed from wing to wing in sharp changes of direction and fleet “capricious” action, By contrast, the lead couples seemed trapped center stage in a force field of stodgy classicism, Holly Hynes’ drab paputki, slippers, ballet boots cookie monster size. 16-20 classical costumes only deepened the sense of static bravura, which talented soloists Maria Kochetkova, Davit Karapetyan, Yuan Yuan Tan and Luke Ingham were unable to overcome..

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