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Pacific Northwest Ballet’s Season Opener: Director’s Choice

Sunday, September 26th, 2010
Pacific Northwest Ballet principal dancer Lucien Postlewaite with soloist Rachel Foster in Jiri Kylian’s Petite Mort, presented as part of DIRECTOR’S CHOICE, Sept. 24 – Oct. 3, 2010. Photo © Angela Sterling

Pacific Northwest Ballet principal dancer Lucien Postlewaite with soloist Rachel Foster in Jiri Kylian’s Petite Mort, presented as part of DIRECTOR’S CHOICE, Sept. 24 – Oct. 3, 2010. Photo © Angela Sterling

Under the artistic direction of Peter Boal, the Pacific Northwest Ballet opened its 2010/11 season with an exhilarating ‘Director’s Choice’ program consisting of four remarkable compositions.  The evening began with two spectacular performances of modern/contemporary works from internationally recognized choreographer Jiri Kylian, Petite Mort and Sechs Tänze (Six Dances.) Following was Jardí Tancat, a spellbinding first work from Spanish choreographer Nacho Duato.  The incredible evening concluded with Glass Pieces, a masterpiece designed by world-renowned artist, Jerome Robbins.

As the lights dimmed, the red curtain rose, the audience silenced and became still.  Six men flawlessly positioned across the stage began to move with fencing foils producing melodic sounds throughout the theatre. Six women stood in the backdrop awaiting their cue. Jiri Kylian’s Petite Mort is transcendental as the dancers display powerful lines with a taste of sensuality. Its sleek and sexy combinations of movement suspend the audience in breath-taking partner lifts and angular shapes.  Six couples move with perfect synchronicity creating a surreal sensation while two melancholy movements of Mozart’s piano concertos penetrate the walls of McCaw Hall.  Jiri Kylian described his piece as, “a world where nothing is sacred, where brutality and arbitrariness are commonplace.”  Pacific Northwest Ballet dancers interpreted this effortlessly and with as much passion as the choreographer exemplifies.

Jiri Kylian witty and extravagant piece Sechs Tänze (Six Dances) brings into play the music of Mozart.  This piece displays the humor in both choreographer and composer, alike.  The performance was mischievous and theatrical.  With a Shakespearian quality, the dancers became players, taking the audience back to 18th century where powdered faces, hair wigs and black exaggerated ball gowns commanded the stage.  Widely favored, PNB’s premiere of Sechs Tänze was entertainingly delicious.

Pacific Northwest Ballet principal dancer Ariana Lallone in Nacho Duato’s Jardí Tancat, presented as part of DIRECTOR’S CHOICE, Sept. 24 – Oct. 3, 2010. Photo © Angela Sterling

Pacific Northwest Ballet principal dancer Ariana Lallone in Nacho Duato’s Jardí Tancat, presented as part of DIRECTOR’S CHOICE, Sept. 24 – Oct. 3, 2010. Photo © Angela Sterling

Passionate, powerful, and painfully poignant are just a few words to describe Jardí Tancat, a work of genius by Spanish choreographer Nacho Duato.  The soulful voice and composition of musical artist Maria Del Mar Bonet enthralls both audience and dancer to an unmitigated submission.  Three couples move with raw intensity exuding a sorrowful and deeply rooted exclamation of emotion, leaving nothing to secret.  Captivating and unrestricted, Nacho Duato’s choreography expresses the uniqueness and vulnerability of his heritage and personal identity, to which six extraordinary PNB dancers represent in an honest and incredibly commendable performance.

Pacific Northwest Ballet’s debut of Jerome Robbins’s Glass Pieces made its impressive and unprecedented mark for the season. Set to three musical scores by Phillip Glass, one of the most influential American composers of the 20th century, PNB’s company of dancers take the audience on a journey of poetic intrusion.  The rhythmic and structural pattern of choreography metaphorically translates the disposition of modern times.  From the colorful display of costumes, along with a backdrop of grid lines, the production delivers an electric and innovative presentation.  Eccentric yet penetrating, Glass Pieces captures the true essence of New York appealing to the Seattle stage.

Once again, Peter Boal demonstrates his brilliant direction embodied through the PNB dancers. From beginning to end, the execution of movement is impeccable, while the choreography is admirable and stunning to watch.  Pacific Northwest Ballet’s ‘Directors Choice’ program highlights some of the finest artistic creations to date.  Opening its season with such compelling performances, it is with great anticipation we embark on this classic yet modern expedition into the world of Ballet.

Review By: Amanda Calderon

Class Act Tutu Associate

For more information or to purchase tickets, visit Pacific Northwest Ballet.

PNB’s Director’s Choice runs September 24-October 3, 2010.

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Sightings: Regina Opera, “Carmen”

Saturday, June 26th, 2010
WendyChu in "Carmen" (Regina Opera)

WendyChu in "Carmen" (Regina Opera)

The Brooklyn Daily Eagle says, “The principal dancers, Wendy Chu partnered by Nolan McKew were magical…” in this performance of Carmen by the Regina Opera. 

Read the full review here.

Photo © Brooklyn Daily Eagle 2010

Wendy is wearing Class Act Tutus’ Sweetheart Bodice with Nude inset in “Amethyst” with a Color-Layered Romantic Tutu skirt in:  Dusty Rose, Wine and Eggplant

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Review: Pacific Northwest Ballet’s Coppelia

Monday, June 7th, 2010
Pacific Northwest Ballet's Coppélia All photos © Angela Sterling

Pacific Northwest Ballet's Coppélia All photos © Angela Sterling

Pacific Northwest Ballet pulled out all the stops with their latest production of George Balanchine’s, Coppelia.  This fantastic production features all new lavishly designed (read: gorgeous!) sets, to die for costumes, and of course the high-caliber artistry that PNB is world-famous for.

Swanilda/Coppélia

Saturday’s matinee featured Lesley Rausch as Swanilda/Coppelia, Jerome Tisserand as Franz, and Olivier Wevers as Dr. Coppelius.  Right off the bat, I have to give serious applause to Rausch for her outstanding interpretation. She not only delighted everyone in the audience with her arrogance and saucy attitude, but she transported us into the heart of her character. Sure, Swanilda isn’t the nicest of young ladies, but her love for Franz is evident, even when faced with the sting of rejection.
 

Franz

Jerome Tisserand’s Franz was perfectly executed. Like Rausch, he had a way drawing me in, making me feel almost as fed up with Swanilda’s antics as he was. His attitude was a perfect blend of inflated ego meets young playboy looking for love.  After discovering that his love interest is only a doll, one would expect Franz to act a bit more sheepish over his foolish behavior. (I mean, seriously!) However, Tisserand remains true to character and Franz casually glosses over that “minor faux pas” with a sudden profession of love for Swanilda, which of course, she accepts.

Dr. Coppelius

 
Olivier Wevers deserved the standing ovation he received for his performance as the highly eccentric, slightly creepy, Dr. Coppelius. How it is Wevers can pull such multi-faceted characters out of his back pocket is beyond me! His Dr. Coppelius was a thrilling “yin and yang”; an absent-minded and lonely old man, whose walking stick doubles as a handy weapon against “the wild hooligans” of the town. But underneath that “grumpy old man” veneer lurks a borderline-fiendish soul.

Honorable Mentions

 
Act three’s splendid cast also deserves special mention. I was most impressed by Carrie Imler’s “Dawn” and Sarah Ricard Orza’s “Prayer”. These dancers gave equally passionate and exquisite performances. Imler was a vision of dazzling sunlight–bright, confident and striking.  Ricard Orza danced “Like a fairy tale princess!” (to quote the little one sitting next to me) with her flowing port de bras and delicate phrasing. The action-packed “Discord and War” featured Batkhurel Bold and Lindsi Dec entering the stage like wild flashes of lightning dressed in silvery armor. As always, the power behind these two striking  dancers takes your breath away. Their amazing turns and leaps were all done whilst holding long spears–none of which whacked anyone else nor made kabobs out of their thighs. (An acrobatic feat of epic proportions, especially when you consider how clumsy the rest of is–read: yours truly!–would be in the same situation.)PNB’s Coppelia is filled with good natured humor, an outstanding cast, and delicious imagery. If you haven’t yet made your way to McCaw Hall to catch the “Happiest Ballet on Earth!”, I would highly suggest that you do so. Like…today!

Coppelia runs from June 3rd-13th. Tickets are available by visiting PNB.org.

 

For those of you unable to attend, please enjoy our gallery of  Pacific Northwest Ballet’s premiere production of Coppélia: Choreography by Alexandra Danilova and George Balanchine © The George Balanchine Trust (after Marius Petipa).

All Photos © Angela Sterling

For more stunning dance photos, visit  Angela Sterling Photography.


By Denise Opper

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Review: Pacific Northwest Ballet – All Balanchine

Tuesday, April 20th, 2010

The curtain rises on a formation of lithe ballerinas dressed in gauzy, icy blue. Silence fills the stage. Then suddenly the first notes of the orchestra begin and the dancers move in unison. As their right feet tendu out to second then close fifth, my heart skipped a beat and tears sprang to my eyes. This is Balanchine’s Serenade. This is what ballet is all about.

Pacific Northwest Ballet company dancers in Serenade, choreographed by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling

Pacific Northwest Ballet company dancers in Serenade, choreographed by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling

The crystalline nymphs (Laura Gilbreath, Ariana Lallone, Lesley Rausch) and their dashing suitors (Karel Cruz, William Lin-Yee) moved as if ushered along the wings of heaven itself. It was a truly magnificent display!

While Serenade made me sigh in dreamy pleasure, act two’s Square Dance left me grinning from ear to ear. This lively, kick-up-your-heels variation showcased the tantalizing partnership of dancers Rachel Foster and Benjamin Griffiths to perfection. Their artistic brilliance combined with their wide, infectious smiles was a hit with everyone in the audience.

Pacific Northwest Ballet principal dancers Carrie Imler and Lucien Postlewaite with company dancers in Square Dance, choreographed by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling

Pacific Northwest Ballet principal dancers Carrie Imler and Lucien Postlewaite with company dancers in Square Dance, choreographed by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling

Last but not least, was the third performance of the afternoon; The Four Temperaments. Now this was the one that left everyone cheering.

The cast of dancers were absolutely amazing: Jordan Pacitti and Kylee Kitchens were riveting, and their exit was spectacular!

Jonathan Poretta never ceases to amaze or gain new fans. The way he pulled out all the stops during his Melancholic variation left me craving for more.

Then there was Seth Orza and Lesley Rausch’s Sanguine Variation. As we all know, Seth’s commanding presence is so captivating, it would be easy for him to unintentionally outshine his partner. Let’s face it; he’s that freaking good. But Rausch held her ground and gave an outstanding performance of her own. Bravo!

Olivier Wevers and his fellow “Phlegmatics” were carefree, charming and delightful. I loved the look of the bent wrists, and how they took on a playful “primping Egyptian” feel.  Yet the real show-stopper was the fourth and final variation: Lindsi Dec’s “Choleric”. This young soloist attacked her role with such fervor and precision that it left me breathless. She shot out of the wings like a supernova, lighting up the stage like it was nobody’s business. Her lines–those quintessential Balanchine lines–were nothing short of gorgeous.  It felt as if everything else had been purposely leading up to her entrance; the grandest of grand finales.

Pacific Northwest Ballet corps de ballet dancers Laura Gilbreath and William Lin-Yee in The Four Temperaments, choreographed by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling

Pacific Northwest Ballet corps de ballet dancers Laura Gilbreath and William Lin-Yee in The Four Temperaments, choreographed by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling

Throughout the entire performance, the dancer’s faces were radiant with joy. Their bodies propelled and guided by a consuming inner fire; a fire that burns hottest when a dancer is in his/her element. Indeed, Balanchine is that element.

Don’t miss your chance to see Pacific Northwest Ballet’s All Balanchine. Tickets available by visiting PNB.org.

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Review: Pacific Northwest Ballet’s 3 By Dove

Tuesday, March 23rd, 2010

My first “Dove” experience this past Saturday greatly exceeded all my expectations. (And when it comes to Pacific Northwest Ballet, those expectations are already high!)

Not only was the dancing superb but the energy, the emotion, the raw edgy element that pulsated throughout the entire performance was, in a word, spectacular.

In 3 By Dove (+ 1 By Quijada), PNB takes on three unique works by the late Ulysses S. Dove–Vespers, Red Angels, and Serious Pleasures; plus a commissioned piece created by Victor Quijada titled, Suspension of Disbelief. The result is a fiery, hypnotic blend of movement coupled with elegant lines and feverish energy.

Vespers

Pacific Northwest Ballet principal dancer Carrie Imler and soloist Lindsi Dec in Ulysses Dove’s Vespers. Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Carrie Imler and soloist Lindsi Dec in Ulysses Dove’s Vespers. Photo © Angela Sterling.

In Vespers, Dove pays homage to his grandmother and the small wooden building where she met with other ladies to pray. The cast is comprised of six female dancers dressed in long black skirts. The dancers alternately sit and stand on, step off, and whirl around a row of wooden chairs with punctuated staccato rhythm and dizzying pace. While a necessary prop, the chairs also seem to provide a visual anchor for these “praying ladies”, keeping them earthbound amidst their heavenly communion.

Red Angels

Pacific Northwest Ballet principal dancers Ariana Lallone and Olivier Wevers in Ulysses Dove’s Red Angels. Photo © Angela Sterling.

Pacific Northwest Ballet principal dancers Ariana Lallone and Olivier Wevers in Ulysses Dove’s Red Angels. Photo © Angela Sterling.

While Vespers provided a good first inning, Red Angels knocked the proverbial ball out of the park. The talented quartet of dancers: Laura Gilbreath, Carrie Imler, Seth Orza and Jordan Pacitti paired with electric violinist extraordinaire, Mary Rowell grabbed the audience’s attention and held onto it like a vice grip.

The dancers clad in gleaming red unitards, performed with a fierce inner fire. These “celestial beings” exuded all the athleticism, drama and sauciness I’ve come to expect from the likes of PNB.

Gilbreath’s performance was vivacious and filled with a contagious exuberance. Imler’s interpretation was clean, deliberate–perfect. But when it comes to articulating the bridled power exhibited by both Orza and Pacitti…well, let’s just say there aren’t enough adjectives to describe its splendor! The pair was nothing short of outstanding.  (In fact, I’m still in awe over Pacitti’s balance in arabesque!)

Suspension of Disbelief

 

 

Pacific Northwest Ballet principal dancer Jonathan Porretta in Victor Quijada’s Suspension of Disbelief. Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Jonathan Porretta in Victor Quijada’s Suspension of Disbelief. Photo © Angela Sterling.

Suspension of Disbelief is a heady mix of intense, slow motion hip hop-esque moves melting into a balletic fondue. Eleven dancers rise and fall against one another; pushing, pulling, catching, falling, bouncing, rolling. The piece felt hauntingly reminiscent of sea foam as it rises and breaks along the waves of the ocean. Notable mentions include Lucien Postlewaite’s gorgeous fluidity combined with Olivier Wevers‘ commanding strength in a poetic pas de deux; Lindsi Dec’s leggy extensions and impeccable control; to finally Chalnessa Eames‘ stubborn, sexy quality wrapped up in a petite package.

Serious Pleasures

Last but not least was Serious Pleasures. Now this is the work everyone will be talking about for many seasons to come! Set against a backdrop of what resembled a barely lit department store changing room with mounted sets of parallel bars in between each shuttered door, Serious Pleasures is wrought with carnal satisfaction and devastation. Each of the nine dancers–Jonathan Porretta, Chalnessa Eames, Rachel Foster, Kylee Kitchens, Sarah Ricard Orza, Barry Kerollis, Jermome Tisserand, Benjamin Griffiths and Seth Orza–showcased their talents in a steamy, uninhibited performance filled with plenty of hair tossing and pulsating hip action.

I found the lighting to be especially impressive, as the majority of the piece was cast in gorgeous silhouette. Later, the lighting provided a provocative adult nightclub effect as the women danced erotically behind their closed “changing room” doors. Additional performance highlights include an exquisite candle lit pas de deux between Seth Orza and Sarah Ricard Orza, and Jonathan Porretta’s portrayal of a man torn between craving what is morally right vs. succumbing to the gutturally instinctual.

With 3 By Dove (+1 by Quijada), Pacific Northwest Ballet has successfully raised the bar of artistic excellence and cultural relevance. Somewhere in the heavens above, Mr. Dove is looking down and smiling…

by Denise Opper, Media Relations Class Act Tutu & Vala Dancewear

All photos © Angela Sterling.

3 by Dove continues March 25-28 at McCaw Hall, Seattle.  Tickets Pacific Northwest Ballet.

 

 

 

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Review: Pacific Northwest Ballet’s Sleeping Beauty

Monday, February 8th, 2010

What a gorgeous evening! There are simply not enough adjectives to describe the splendor of Pacific Northwest Ballet’s The Sleeping Beauty.  This outstanding company of dancers whisks its audience deep into the heart of this beloved fairy tale, thrilling and delighting both young and old alike.
The scenery and costumes  designed by Peter Docherty are lush, vibrant and visually delicious. Enchanted foliage moves to ensconce the royal castle. Costumes shimmer and sparkle with life of their own. Aurora’s bower is delicately ornate and enveloped in a golden beam of light.

The Christening

The opening Christening Scene exceeded all expectations. Otto Neubert (King Florimund) and Victoria McFall (the Queen) are poised experts of their craft. Their characterization is well-established and believable.
The seven enchanted fairies and their cavaliers were dazzlingly  in sync. The Cavaliers, with their impressive turns and jumps, were thrilling to watch. The fairies were perfectly cast, each bringing their own unique style and interpretation to the role. Most memorable solos include Lindsi Dec’s (Fairy of Wit) spunky finger pointing and skillful pointe work, and Chalnessa Eames‘ (Fairy of Generosity) charming, slightly coquettish performance.

The Lilac Fairy

Carrie Imler’s  interpretation was not only masterful, but exhibited a profound sense of strength under control. I got the distinct impression that Lilac could’ve really given old Carabosse a swift kick in the skirt, but chose not to because that wouldn’t be very ladylike. Their relationship seems tethered by a delicate wisp of a truce; “I will only allow you to go so far,” Lilac’s penetrating gaze warns.
Imler’s port de bras were gorgeous and fluid; her grace extending all the way through her fingertips. Her expressions were soft but commanding; her movement precise yet poetic. Imler’s Lilac seemed to care deeply about all those within her domain, and their allegiance to her was not without cause.

Pacific Northwest Ballet principal dancer Carla Körbes as the Lilac Fairy with her attendants, puts the kingdom under a sleeping spell in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Carla Körbes as the Lilac Fairy with her attendants, puts the kingdom under a sleeping spell in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Carabosse

Jonathan Poretta’s portrayal of this devilish fairy was dramatic, powerful and just plain fun. Everything from his grand, swooping entrance accompanied by the sound of crashing cymbals and stark flashes of light, to the fiendish ways in which he lashes out over not being invited to the celebration was absolutely superb! Carabosse may be profoundly wicked, but she is still no match for the Lilac Fairy’s power. One moment, Carabosse is whirling feverishly about, her cackling laughter almost audible. The next, she is cowering on the floor under Lilac’s quietly dominating presence.  I was almost sorry she was stabbed to death by the heroic Prince in the end.

Pacific Northwest Ballet principal dancer Olivier Wevers as the evil Carabosse, and principal dancer Carla Körbes as the Lilac Fairy in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Olivier Wevers as the evil Carabosse, and principal dancer Carla Körbes as the Lilac Fairy in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Princess Aurora

With her delicate phrasing and uncanny ability to channel the emotions of a sixteen year old Princess, Mara Vinson has secured her place as a legendary ballerina. During the famous Rose Adagio, Vinson was unfathomably brilliant. Her balance was spot-on as she greeted each of the four Dukes; her supple back hinted of the beautiful woman our heroine is to become, and her developpes unfurled toward the sky. Last but not least, those fantastic poissons (fish dives)with the Dukes and later, the Prince, were nothing short of extraordinary. Indeed, Vinson’s performance left many viewers gasping with excitement.

Pacific Northwest Ballet principal dancer Mara Vinson as Aurora, with company dancers in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Mara Vinson as Aurora, with company dancers in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

The Prince

Yet where would our lovely heroine be without her handsome Prince? Seth Orza proved his mettle by meeting the challenges of this highly demanding ballet. Orza starts out as a dashing, slightly aloof young man who quickly becomes enraptured by the girl of his dreams (literally). He begs the Lilac Fairy to show him where she can be found, a request which the benevolent fairy is only too happy to oblige. Orza’s characterization is rich and articulate; his strength and power–sheer bliss. When he finally kills the wicked Carabosse then leans in to kiss his beloved Aurora, you have to literally stop yourself from cheering.

The Wedding

The third act of this ballet is filled with some of the most well-known and cherished variations. The Gold and Silver Pas de Trois, featuring Lindsi Dec, Andrew Bartee and Lucien Postlewaite was refreshing, effortless and commanding. I was duly impressed with how well Dec’s strength and beautiful lines held their own against Bartee’s and Postlewaite’s esteemed technical prowess and bold execution.
The Bluebirds (Rachel Foster and Benjamin Griffiths) were absolutely stunning.  Griffiths shined with his jaw-dropping leaps and jumps, while Foster’s fluttering movements provided a sense of harmony and balance.
Red Riding Hood and the Wolf (Abby Relic and Jerome Tisserand) was mildly sinister yet extremely charming. I heard more than a few giggles emanating from the children in attendance.
However, it was the humorous dance between Puss in Boots (Jordan Pacitti) and the White Cat (Sarah Ricard Orza) that really got the audience’s attention.  This talented duo made the most convincing pair of sparring felines imaginable. Pacitti was the ever-determined suitor vying for Ricard Orza’s finicky feline affections; Ricard Orza transformed herself into the most feisty little kitty cat, holding Pacitti at arm’s–or claw’s–length. After multiple strikeouts, Pacitti finally decides to give Ricard Orza the gift no kitty in her right mind can resist; a tasty mouse!

Pacific Northwest Ballet soloist Seth Orza and principal dancer Mara Vinson as Prince Florimund and Princess Aurora in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling

Pacific Northwest Ballet soloist Seth Orza and principal dancer Mara Vinson as Prince Florimund and Princess Aurora in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling

Conclusion

By taking on this technically demanding ballet and performing with aplomb, Pacific Northwest Ballet has once again proven itself worthy of the highest of accolades. The dancers enamored the audience with their incandescent performance and spawned a new generation of wistful Auroras!

by Denise Opper, Media Relations Class Act Tutu & Vala Dancewear

All photos © Angela Sterling

Pacific Northwest Ballet performs Ronal Hynd’s The Sleeping Beauty

February 4 – 14, 2010


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Review: Pacific Northwest Ballet’s Nutcracker

Tuesday, December 1st, 2009

A Little Bit of Magic

The magic of the holiday season has descended upon McCaw Hall, ushered in on the wings of Pacific Northwest Ballet’s annual treat, The Nutcracker.  The air inside the theater was alive with anticipation, and the excitement emanating from all the hundreds of children present was palpable.

Clara's Christmas Tree - A signature moment of Pacific Northwest Ballet’s Stowell/Sendak Nutcracker occurs when Clara’s Christmas tree grows from 14 to 28 feet. The majestic tree was constructed by Boeing engineers and weighs 1,000 pounds.

Clara's Christmas Tree - A signature moment of Pacific Northwest Ballet’s Stowell/Sendak Nutcracker occurs when Clara’s Christmas tree grows from 14 to 28 feet. The majestic tree was constructed by Boeing engineers and weighs 1,000 pounds.

The Story and the Set

The ballet is based on the original story written by E.T.A. Hoffman and brought to life by the choreography of former PNB Artistic Director, Kent Stowell.  The sumptuous sets designed by Maurice Sendak (Where the Wild Things Are) play a crucial role in the success of this stellar production.  They not only envelop the stage like a lush, Victorian picture book, but also provide a sense of pure magic.  Everything from the massive growing Christmas tree and the enormous Mouse King that wickedly encircles the stage–to the realistic boat ride along the sea, leaves audiences captivated and riveted to the edge of their seats.

Clara

The role of young Clara was marvelously played by PNB student, Eileen Kelly.  Kelly’s mannerisms and characterization were both impressive and believable.

Carrie Imler , Principal Dancer, PNB, as adult Clara was nothing short of outstanding.  Imler’s Clara provides a stunning portrayal of a maiden whose heart is laced with the charms and emotions of girlhood.  She is her Prince’s devoted equal in terms of bravery, and wants nothing more than to remain locked within the confines of this beautiful dream with him forever.

The Prince

Batkhurel Bold, Principal Dancer, PNB, gave a powerful performance as the dashing Prince.  His movements were breathtaking, his character regal and confident.  Bold not only captivates audiences with his impressive strength, but sweeps them off their feet as Clara’s faithful protector, companion, and hero.  Their gorgeous, sweeping pas de deux conveys all the beauty and promise of young love.

A Cast of Characters

Herr Drosselmeier/Pasha

Jordan Pacitti shines in the dual role of Herr Drosselmeier/Pasha.  As Drosselmeier, Pacitti is teasing yet harmless, a classic example of a man who is “a little boy on the inside.”  He not only revels in his ability to shock and amaze the party guests, but takes the most delight in getting a rise out of young Clara.  Later, however,  as the Pasha, Pacitti transforms from a fiendish eccentric, into a protective father-figure, possessive of both Clara and her affections.

Ballerina Doll

Sarah Ricard Orza gave a lovely performance as the wind-up Ballerina Doll.  Her masterful display breathed new life into this well-loved character, one who is sure to star in many little girls’ dreams.

An Enchanted Land

The Moors, A Chinese Tiger, The Commedia

Act Two whisks Clara and the Prince along to an enchanted land where they are greeted by a lavish display of hospitality, courtesy of the Pasha.  Moors dance about with bright, energetic flair.  A dancing Chinese tiger, charmingly played by Ryan Cardea, received more than a few giggles and squeals of delight.  The Commedia (Liora Reshef, Benjamin Griffiths and Rachel Foster) were reminiscent of a precious music box or toy shoppe window.  Griffiths’ acrobatics and technical prowess were evident both here and during his role as Sword-Dancer Doll in Act One.

The Chinese Tiger

The Chinese Tiger

The Peacock

Lesley Rausch, soloist, PNB mesmerized in her role as the fluttering, sensuous Peacock; a winged beauty transported via gilded cage.  Rausch’s expert characterization was daring, captivating, and hypnotic.

Pacific Northwest Ballet soloist Lesley Rausch as the Peacock in PNB's Stowell/Sendak Nutcracker. Photo © Angela Sterling

Pacific Northwest Ballet soloist Lesley Rausch as the Peacock in PNB's Stowell/Sendak Nutcracker. Photo © Angela Sterling

The Whirling Dervishes

The three whirling Dervishes (Barry Kerollis, James Moore, and Josh Spell) were absolutely thrilling. These fantastic dancers created a spectacular “tour de force” that left every little boy in the audience inspired and awe-struck.

Flora

Lindsi Dec, soloist, PNB,  soared to new heights as the beautiful blossom maiden, Flora.  Dec gave herself completely over to her role, and that coupled with her long, gorgeous lines and jubilant expression, made her performance exhilarating to behold.

Pacific Northwest Ballet soloist Lindsi Dec as Flora in the Waltz of the Flowers from PNB's Stowell/Sendak Nutcracker. PNB’s acclaimed production of Nutcracker runs November 27 – December 30, 2009 at Seattle Center’s McCaw Hall. Tickets are available online at www.pnb.org or by calling 206.441.2424. Photo © Angela Sterling

Pacific Northwest Ballet soloist Lindsi Dec as Flora in the Waltz of the Flowers from PNB's Stowell/Sendak Nutcracker. Photo © Angela Sterling

Snow, Waltz of the Flowers

PNB’s corps de ballet performed beautifully as a chorus of swirling, icy snowflakes glittering in the moonlight. Their dazzling display literally made a chill run down my spine.  Later during the Waltz of the Flowers, I could almost smell a hint of jasmine and rose being carried along on a soft, spring breeze.

Pacific Northwest Ballet’s, Nutcracker

I was once again impressed with the caliber of dancing and characterization offered by this amazing company, as well as the talent that exuded from its students.  Pacific Northwest Ballet’s Nutcracker is a must-see and should be a part of every family’s holiday tradition.

PNB’s acclaimed production of Nutcracker

runs November 27 – December 30, 2009

at Seattle Center’s McCaw Hall.

Tickets are available online at www.pnb.org or by calling 206.441.2424

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Pacific Northwest Ballet’s “Director’s Choice”

Friday, November 6th, 2009

From the theater staff to the attendees to the performers, the excitement of opening night was unmistakable.  Pacific Northwest Ballet’s introduction of two brand new pieces and a replay of two favorites translated into an evening to remember.

Petite Mort

Seth&SaraPetiteMort

Pacific Northwest Ballet soloist Seth Orza and corps de ballet dancer Sarah Ricard Orza in the PNB premiere of Jiri Kylian’s Petite Mort, presented as part of DIRECTOR’S CHOICE, running November 5 – 15, 2009. Photo © Angela Sterling.

The night began with Petite Mort, (French for “The Little Death” and a metaphor for sexual climax), the first work by European choreographer Jiri Kylian to be acquired by Pacific Northwest Ballet.  With six men, six women, and six foils the piece has been described as exuding energy, silence, and sexuality.  It does just that.

Petite Mort starts with six men facing upstage backing slowly toward the orchestra pit in silence.  The stillness is broken at first only by the sound of the swords cutting through the air.  The men partnering with their swords create a dangerous tension and excitement.  The choreography plays between the men, the swords, the women and dark, baroque style dresses.  These dresses, at times, appear to dance completely on their own.  There are some light hearted moments with the foils and the dresses that allowed the audience a laugh and provided a needed respite.

A special treat in this performance included partnering between two of the company’s married couples:  Seth Orza and Sarah Ricard Orza and Lindsi Dec and Karel Kruz.  In the sensual pas de deux, these real-life married couples, along with principal dancers Lucien Postlewaite and Kaori Nakamura, showcased both precision in movement as well as emotion.

I look forward to more pieces from this brilliant choreographer.

The music (Mozart’s Piano Concerto in A Major – Adagio and Piano Concerto in C Major – Andante) also warrants special mention.  With the resignation of Maestro Stewart Kershaw, Allan Dameron is acting Music Director and Conductor.  Dameron performed masterfully as both pianist and conductor for this piece.

Mopey

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Pacific Northwest Ballet soloist James Moore in Marco Goecke’s Mopey, presented as part of PNB’s DIRECTOR’S CHOICE program, November 5 – 15, 2009. Photo © Angela Sterling.

This 14-minute male solo of “adolescent meltdown” was first performed by PNB in 2005.  The cult classic, performed by soloist, James Moore was pure perfection.

Moore’s fluidity of movement demonstrated both his raw strength and masculine grace.  The agony of the journey from boy to man with all of the temptations and mistakes made along the way was nothing short of mesmerizing.

For three perspectives on Mopey, see seattledances blog interview with James Moore and two other dancers cast for this run, Soloist Benjamin Griffiths and Principal, Jonathan Poretta.

The Seasons

This was the world premiere of The Seasons, choreographed by Val Caniparoli.  The Seasons is a balletic allegory of the four seasons danced to the music of Alexander Glazunov (Op.67, 1899).  The Seasons is served up against a simple and very striking set and presented with innovative costume design.  Both set and costumes were designed by Sandra Woodall.  I cannot even begin to describe the brilliance in executing these costume design concepts.  Check out this video posted by PNB as a special thanks to the costume shop for a taste:  PNB’s The Seasons Costume Preview.

The Seasons opened in winter  and it appeared that it was snowing stars.  Thus the magical blend of contemporary and classical ballet began.  There were delightful gnomes lighting fires to melt the snow and change the scene to spring.  Kaori Nakamura as the Swallow truly took flight—both on her own and with the aid of the Zephyr, Lucien Postlewaite.  You could see the fun and frolic in Barry Kerolis as a faun.   With its cast of birds, satyrs, fauns, flowers and gnomes, this piece has something for everyone.

West Side Story

West Side Story is an abbreviated version of the musical of the same name.  Choreographer Jerome Robbins (along with Peter Genarro) extracted this sequence of dances originally for the New York City Ballet in 1995.

This piece is just plain fun and allows the dancers to try their hand at singing and showing off a completely different style.  Principal, Carla Körbes was a delight as the spunky, Anita seeming to be transformed both in looks (her blonde hair covered in a dark wig) and technique.

Pacific Northwest Ballet principal dancer Carla Körbes (center) with Company dancers in Jerome Robbins’ West Side Story Suite. Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Carla Körbes (center) with Company dancers in Jerome Robbins’ West Side Story Suite. Photo © Angela Sterling.

PNB’s Director’s Choice runs from November 5–15, 2009.

Don’t miss it!

All photos  © Angela Sterling.

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Review: The Nutcracker – Mikhail Baryshnikov and Gelsey Kirkland (1977)

Tuesday, October 6th, 2009

Mikhail Baryshnikov debuts his stunning choreographic talent in this classic tale re-born. Hailed as one of the finest Nutcracker productions ever made, Baryshnikov’s “Nutcracker” is captivating, thrilling, and magical, inspiring thousands of would-be dancers for the past three decades.

Baryshnikov’s “Nutcracker” incorporates elements of cinematic artistry that create a lovely, dreamlike atmosphere. These elements are particularly noticeable when the Nutcracker magically transforms into the handsome Prince and during the beautiful Waltz of the Snowflakes.

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The Nutcracker

The sets are elegantly stylish decorated in softly muted tones. The voice of the Narrator echoes of a time when children sat upon a beloved Grandfather’s knee, listening to his tales of wonder. The all-star cast features members from the famous American Ballet Theatre, including Alexander Minz as Herr Drosselmeyer.

Just three years after his arrival in the US, this exhilarating production secured Baryshnikov’s place within the hearts of the American public. The film’s details ring poetically with the combined professional influences upon his career, both Russian and American.

Mikhail Baryshnikov’s Nutcracker Prince is clearly in a class by itself. Alive with fantastical force, boyish whimsy and displaying superior showmanship, his athleticism and vivid interpretation are unparalleled and will leave audiences cheering for years to come.

Gelsey Kirkland creates a most exquisite Clara. With her lithe form, articulated feet, and doll-like features, Kirkland beautifully captures the very essence of childlike wonder coupled with the blossoming emotions of young womanhood.  Her talent is lauded with praise throughout the dance world, and her name is synonymous with classicalism. Baryshnikov referred to Kirkland as, “The best ballerina of her generation” a compliment that is well-deserved.

This film radiates with all the vibrancy of their legendary partnership. The acclaimed duo creates a powerful masterpiece from the remnants of Nutcrackers past; one that is teaming and pulsating with life.

With its remarkable dancing, impeccable character interpretation and clever cinematography, Mikhail Baryshnikov’s “The Nutcracker” adds bold, rich flavor to a cherished holiday treat.

Buy it Now

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Review: Nutcracker the Motion Picture (1986)

Tuesday, October 6th, 2009

Never before has there been a Nutcracker like this! By fusing together Maurice Sendak’s stunning and lushly designed sets with Tchaikovsky’s beautiful score, Nutcracker: the Motion Picture expands a traditional holiday classic into a cinematic work of art.

Former PNB artistic director, Kent Stowell skillfully breathes new life into the Nutcracker story through the use of special effects and superb cinematography.  Children and adults alike will gain a new level of understanding and respect for this ballet, thanks to powerful opening scenes featuring Clara’s disturbing dream.

Creative and artistic liberties are beautifully expanded, thanks to a generous dose of “movie magic”. The wind-up doll indeed dances inside her tiny dollhouse. Young Clara is enveloped by a mystical fog and literally walks through the dead, defeated Mouse King’s giant sleeve and exits the other side–transformed into a beautiful Princess. The charming boat ride across the sea is reminiscent of the pages of a cherished childhood picture book.

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Dancers’ facial expressions, which are often missed, are strategically focused on during the film adding to the overall depth and dimension of the story.

Principal dancer, Patricia Barker does an amazing job of bringing Clara’s dream world to life. Her execution of movement exudes with tremendous power, beauty, and sincere artistry. Her expressive features are never showy or lacking in emotion, but rather perfectly suited to the scene at hand.

The mildly jealous relationship between the Nutcracker Prince and Herr Drosselmeyer is played for humor, adding a thread of “comic relief” throughout the film.

Viewers, both young and young-at-heart will enjoy this flawless adaptation again and again. Whether you’re a fan of ballet or not, this production offers something for everyone: drama, romance, scuttling siblings, frighteningly odd dreams, a fierce battle scene, and finally an action-packed ending that will leave you breathless.

Nutcracker: the Motion Picture is a must-see film that should be on everyone’s holiday entertainment list!

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The Book

Sadly, what has been called the finest Nutcracker ever staged, is no longer available on VHS. You can enjoy the story in book form with the stunning photography of Angela Sterling.

On VHS

You may get lucky and locate a used copy of this wonderful tale.

See it!

Or check your local listing for a television showing this holiday season. And, of course, if you are in the Pacific Northwest this holiday season, we encourage you to make Nutcracker with the Pacific Northwest Ballet part of your holiday plans.

Pacific Northwest Ballet Company dancers in Nutcracker. © Angela Sterling

Pacific Northwest Ballet Company dancers in Nutcracker. © Angela Sterling

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