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Tag Archives: Gold Tutu

  • Sightings! Bartered Bride "Man" Tutu

    Juilliard Man Tutu 2

    Juilliard

    Check out Class Act's "man tutu" featured in performances of Smetana's "The Bartered Bride", a co-production of the Metropolitan Opera and The Juilliard School.

    Class Act was honored to have provided the Juilliard costume shop with the tutu skirt used to create this fun tutu "worn by a man playing a bearded lady in a circus".

    Costume design for this production was by designer extraordinaire, Martin Pakledinaz.  Tutu bodice and embellishment created by the Juilliard costume shop.

    "Martin Pakledinaz's colorful costumes included a fun outfit for a ballet dancer in drag, and Benjamin Millepied choreographed breezy routines for members of Juilliard Dance." ~ Ronald Blum, Associated Press

    Read all about this fun production here.

    Juilliard Opera - Bartered Bride

    Juilliard

  • Review: Pacific Northwest Ballet's Coppelia

    Pacific Northwest Ballet's Coppélia  All photos © Angela Sterling

    Pacific

    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

  • Pacific Northwest Ballet's "Roméo et Juliette"

    Pacific Northwest Ballet principal dancer Kaori Nakamura and soloist James Moore in Jean-Christophe Maillot’s Roméo et Juliette.  Photo © Angela Sterling

    Pacific

    I recently had the privilege of viewing the matinee performance of Pacific Northwest Ballet’s Roméo et Juliette.   I was prepared to be delighted and entertained, being a tremendous fan of PNB already.   However, I must admit I was not prepared for the high caliber of dancing coupled with such flawless character interpretation as this.

    The PNB dancers breathed new life into Jean-Christophe Maillot’s intricate adaptation.   From the moment I saw actual credits rolling across the screen, I knew this would be no ordinary ballet with a modern twist.   This was history in the making.

    The scrawling black and white credits soon gave way to sets that were clean, pure and abstract.   The lighting played a greater role than I’d seen in the past, able to change the entire feel of a scene from a misty dream-like state one minute, to a cold starry night the next.

    The dancers were so in tune with their characters, you easily became lost in the performance.

    Kaori Nakamura’s Juliette was young, fresh and a bit of a “spoiled, wild child”.   From “flashing” her nurse (bad girl!), to her refusal to obey her Mother’s wishes and marry Paris, Nakamura successfully channels all the feisty rebelliousness of the teen years.  This is Nakamura's first time performing as Juliette, and she beautifully exceeds all expectations.

    James Moore’s Romeo is everything you’d expect from a bad boy from the wrong side of the tracks.  He’s playful, rambunctious, headstrong, and a bit of a show-off, especially with the ladies.  Yet for all his flaws, Moore’s Romeo was a character you couldn’t help but fall in love with.

    Olivier Weavers did a superb job as Friar Laurence. As both a silent narrator and active participant to this tragedy, his performance is raw and heartbreaking; his anguish palpable. He is forever trapped in a nightmare of his own making, desperate for forgiveness that will never come.

    Equally magnificent was the athleticism of the Friar’s two Acolytes, played by Jordan Pacitti and Sean Rollofson.  So much of their movement was done in slow, exaggerated motion: the turns, lifts, and carefully executed rolls off the stage were riveting and poetic.

    Principal dancer, Olivier Weavers as "Friar Lawrence" with the two Acolytes (Jordan Pacitti and Jerome Tisserand

    Principal

    Her Nurse, expertly played by Chalnessa Eames, was clearly outwitted--and at times overwhelmed--by her young charge’s antics. Although the Nurse’s movements were silly and comedic, they carried an undertone of seriousness to her tasks at hand. There was no question regarding her devotion to Juliette.

    Mara Vinson’s Lady Capulet was simply magnificent. From the moment she came into view she exuded superior control and confidence. Every inch the powerful matriarch, Vinson gave a performance so compelling I couldn’t take my eyes off of her.

    Seth Orza was a very convincing Tybalt. He successfully conveyed his character’s anger, sense of family pride, and deep loathing of the Montague’s. His movements were commanding, intimidating, and breath-taking.

    Mercutio and Benvolio played by Barry Kerollis and Josh Spell, round out the obnoxious Montague bunch. They live to aggravate and annoy the Capulets, most especially Tybalt. They played their roles as troublesome, arrogant pests with a hint of boyish foolishness, to the fullest.

    Jeffrey Stanton’s portrayal of Paris was perfect. He was quiet, unassuming, gentlemanly; a stark contrast from Tybalt and Romeo.

    Lesley Rausch played a sexy, sassy Rosaline. Her character is well-aware of her beauty and uses it to full advantage.

    Story Highlights

    The attraction between Romeo and Juliette was undeniably beautiful. The Balcony scene served as an exquisite moment of foreplay, aching with longing. Their wedding was simple and elegant; their wedding night resonating with passion and joy. It was in that moment that Juliette became the pursuer, with her Romeo succumbing to her charms. Watching these two, I couldn’t help but feel as though I was witnessing pure magic.

    With the dramatic fight scene at the end of Act II, the audience is suddenly catapulted into the midst of Friar Laurence’s nightmare. Like one possessed, he digs his fingers into the set as it moves eerily across the floor, trying in vain to stop the next chain of events.The terror unfolds in slow motion as the distraught Friar

    Principals Bakturel Bold and Jonathan Poretta

    Principal

    Laurence watches on in agony. This is the moment he was dreading. This is the moment when everything falls apart.

    As the action resumes normal speed, the brutality and its aftermath hit you full-force. Lady Capulet flails about in a wild rage, her grief unlike anything you’ve ever experienced. Paris must half-carry, half-drag her away from Tybalt’s lifeless form. Her heart takes another devastating blow with the loss of her daughter. She bitterly clings to the walls as if to say, “Take me now! I can’t bear this any longer!” As a mother, you feel her cries echo through your heart as she doubles over repeatedly in anguish. Yet her reaction is nothing compared to Romeo’s. As we know, Friar Laurence’s letter has not reached him in time. Romeo cannot—will not—bear this excruciating loss.

    As Juliette awakens from her slumber and discovers that her cherished Romeo is no more, you feel her gut-wrenching loss. Her body is wracked with sobs, her horrified expression crying out, “This was not how it was supposed to be!”

    Unable to bear the scene before him, Friar Laurence turns his back toward the grief-stricken Juliette and clings to the wall in shame and helplessness. Juliette then strangles herself and gently falls across her beloved’s body.

    Conclusion

    I was absolutely enthralled by this performance. It was magical, poignant, thrilling, devastating and beautifully complex. The dancer’s dramatic expressions, the careful subtleties of movement, and the striking character development work together to provide a rich, new layer to this Shakespearean tragedy. I'm so thankful to Peter Boal for adding this production to the company's repertoire.

    What may have initially felt like a bold move to my "classically inclined" mind, the performance left me with an even deeper respect for PNB as a whole. This is a company that is clearly up to any challenge a choreographer or director may throw their way.

    My co-worker and companion on this trip, Lisa-Marie, also found the performance captivating. In fact, this was her first time ever seeing a ballet so I'll let her reaction speak for itself: "I am spoiled for life! I can never see another ballet again without comparing it to Romeo et Juliette."

    Run—do not walk—to McCaw Hall and get your tickets to see Pacific Northwest Ballet’s Romeo et Juliette. You will not be disappointed.

    By Denise Opper

    Media Relations: Vala Dancewear/Class Act Tutu All Photos © Angela Sterling

    James Moore and Kaori Nakamura Romeo et Juliette

    Pacific

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