Archive for the ‘Pacific Northwest Ballet’ Category

Vala Dancewear & PNB soloist, Lindsi Dec – Pointe Magazine Exclusive

Friday, September 30th, 2011
Photo by Nathan Sayers

Photo by Nathan Sayers

“Lindsi Dec steps out from the “Rubies” corps, lowering her arms slowly, a flash in her eyes. And then she bursts into action, her 5′ 9″ worth of angular beauty unfurling into head-high extensions. Darting and slinking through Balanchine’s hip-jutting steps, the Pacific Northwest Ballet soloist is having the time of her life. And so is the audience.” – Pointe Magazine

Congratulations to Pacific Northwest Ballet soloist (and Vala Dancewear model), Lindsi Dec – on her awesome feature in the October/November issue of Pointe Magazine! Read all about Lindsi, her rise to fame and her incredible work ethic here.

{PS: On page 10, Lindsi is modeling Vala Dancewear’s “Siren” in one of our new colors.   Don’t miss it!}

Pacific Northwest Ballet’s Contemporary 4 Dazzles

Sunday, March 20th, 2011

The stars were shining brightly during Pacific Northwest Ballet’s opening of Contemporary 4. The evening’s mixed program featured four outstanding displays of diversity, ingenuity and beautiful creativity.

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Pacific Northwest Ballet principal dancers Ariana Lallone and Lucien Postlewaite in Mark Morris’s Pacific, presented as part of CONTEMPORARY 4, March 18 – 27, 2011. Photo © Angela Sterling

Pacific featured both men and women dressed in swooshy, flowing skirts which looked just a wee bit prettier on the men than the women. Josh Spell and Benjamin Griffiths especially worked those skirts like it was nobody’s business, and I enjoyed the overall effect the costumes had on the performance. Another duo worth mentioning is Carla Korbes and Olivier Wevers. Their pas de deux was absolutely yummy! Lucien Postlewaite was as beautiful as always. (You know something, I often find it difficult to wrap my head around this man’s softness, his vulnerability. It’s just exquisite!) Then of course, there was the perfection known as Ariana Lallone. This lady continually brings a rich, new layer of magic to every performance, and I for one will miss her presence in the seasons to come.

The world premiere of Marco Goecke’s Place a Chill made me think, “Voguing on steroids”. That may not be the best way to describe it, but that’s immediately what came to mind. Lightening fast upper body moves were mixed with equally fast finger-flicking shivers made you wonder whether the dancers were trying to embrace—or fight off—the impending chill. It was absolutely incredible to watch! In this act, the stand-out performer award must go to both Jonathan Poretta and James Moore. Guys—you’re my heroes! Enough said.

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Pacific Northwest Ballet soloist Chalnessa Eames and corps de ballet dancer Josh Spell in Paul Gibson’s The Piano Dance, presented as part of CONTEMPORARY 4, March 18 – 27, 2011. Photo © Angela Sterling

The Piano Dance, choreographed by ballet master, Paul Gibson was just…(insert Italian kiss of the finger tips here) “Bellissima!” The stunning blood red costumes were to die for; the dancing was soulful, flirty and infectiously fun. Lesley Rausch and Seth Orza made for a most mesmerizing pair (but seriously, what do you expect from these two?), while Chalnessa Eames and Josh Spell were enthusiastically coquettish and spry. (The playful booty smack was most appreciated by all in attendance.) Rounding out the splendid cast was Margaret Mullin and Jerome Tisserand, who looked like “two happy young lovers”, and the spunky Rachel Foster and Benjamin Griffiths whose performance I felt was the icing on the cake. Quite honestly, I could watch The Piano Dance over and over again, and never get bored.

The fourth and final piece was Alexei Ratmansky’s Concerto DSCH. This highly anticipated piece did not fail to impress and delight the masses. The lighthearted romance was the perfect blend of strength and versatility due to the likes of Batkhurel Bold, Seth Orza, Karel Cruz, Carla Korbes and Carrie Imler. The male “power triangle” was counter-balanced by the softness and charm of the ladies, who could never be mistaken for shrinking violets! To the contrary, Imler’s own breed of strength silently dared the boys to keep up with her, while Korbes’ quiet air of authority demands utmost respect. Performance highlights include Bold’s freaking awesome lift and twirl of Mr. Orza (go ahead and read that twice, I’ll wait), and the fantastic chemistry between Cruz and Korbes.

Contemporary 4 is one rep that is not to be missed. If you haven’t already done so, please visit pnb.org to purchase tickets. You will not be disappointed!

~Reviewed by Denise Opper, Vala Dancewear Media Liaison

A Whimsical Dye Job

Saturday, January 22nd, 2011

cjdldesignHave you ever wondered how much work goes into creating the perfect costume? Then check out this fun article on the eWhim blog, home of the Whim W’him Dance Company.  It chronicles Christine Joly de Lotbiniere – one of Seattle’s favorite costume designers - and the dyeing process she used on the men’s costumes for ‘Cylindrical Shadows’. “Choosing colors can be a difficult task, it relies as much on visual processing skills as it does on personal artistic license. So much is based on appearance . . . think of color in food, how it is often used to determine the ripeness of fruit and is one of the most visible characteristics of raw and/or cured meats. I find that in costume design work, color choice and particularly chromatic contrasts is the fundamental thing that drives attention.” Read this fabulous post in its entirety here.

PNB Dancer Profile: Lindsi Dec

Friday, January 14th, 2011

As you (may) already know, Lindsi Dec – soloist with Pacific Northwest Ballet – is one of our stunning Vala models. We’re pleased to announce she’s PNB’s latest featured dancer on YouTube. Check out her ‘Dancer Profile’ video here. (PS: Check out her awesome developpes! Oh…my…goodness!)

Catching Up With a Star: An Interview with Laura Gilbreath

Saturday, December 18th, 2010
Getting into position

Behind the scenes at the Vala Shoot: Laura Getting Into Position wearing Vala's "Enchant" Leotard

Pacific Northwest Ballet soloist and Vala model, Laura Gilbreath is–in a word–breathtaking. Her fabulous extensions, incredible technique and striking beauty make for a rather bewitching combination! We adored her in “3 By Dove”, wept over her haunting interpretation in “Afternoon Ball”, and were mesmerized by her peacock variation in “Nutcracker”. But what we find most intriguing however, is her stunning work ethic! This young woman’s been busting her chops since she was a teenager–an attribute which led to her success with Pacific Northwest Ballet!

Behind the scenes photos courtesy of Rachel Anne Fitzthum, Designer, Vala Dancewear

We recently caught up with the talented dancer and asked her some of our–and your–burning questions. Here are her answers…

Please share with our readers about how you got started in ballet.

I guess you could say I started dancing because my mother always had such a love and appreciation for it. She danced (ballet) up until she was in high school, and so when she had two little girls, it was only natural that she expose us to this beautiful art form.  My sister is two years older than I am, and she began lessons when she was about 4. When Mama and I would go pick her up (I was 2 1/2 at the time), I would constantly be dancing around in the waiting room wanting to join the class. The teacher and my mother must have gotten sick of seeing me jump around because they let me join the creative movement class early.

In a recent interview, you mentioned that you’d attended School of American Ballet when you were younger. Can you tell us how old you were when you accepted into their program? Was this your “dream” school at the time?

I started going to SAB for the summer course when I was 11, and then I began attending as a year-around student when I was 15. I would definitely say this was my dream school when I was younger. Aubrey Morgan (used to dance with NYCB) and Janie Taylor (currently dances with NYCB) are from my studio and they both attended SAB. I wanted to do exactly what they did. It all sounded so amazingly wonderful and exciting. I prepared my mother early on that I would be leaving home at an early age.

How did your family feel about such a big move?

As I said, my mother was somewhat prepared that I would leave home early, but that did not make it any easier. Not to mention the fact that she had already let one daughter go at the age of fifteen to train in ballet as well. My sister, Elizabeth, trained at the Harid Conservatory for 2 years and then ended up attending Indiana University. Before that, she did some trainee work with Ballet Austin. She still does some dancing occasionally around New Orleans. She is a beautiful dancer. So I guess all in all everyone was very supportive of the move and happy that I was fulfilling my dreams. Daddy just wanted his little girl to be safe and to be able to visit me when he could!

What was it like for you to live so far from home for the first time? How did you handle homesickness? (I think I’d personally have a panic attack..LOL)

It was hard being away that young. I think I talked to Mama on the phone probably 5 times a day! At the time I felt so grown up and sophisticated, but 15 is a baby looking back on it. Mama would try to visit at least every few months and Daddy would come as often as his work schedule would allow. The good thing about being at a place like SAB is that everything is in that one building: cafeteria, dorms, studios, and there were plenty of things to do in a 10 block radius, so my mom never had to worry about me galavanting around the city. My friends and I had plenty of good, clean fun in the dorms!

So what prompted your move to Pacific Northwest Ballet?

I moved to Seattle after attending 2 summer courses at PNB. When you are at SAB for the winter, they encourage you to go somewhere else for the summer to experience different places. I chose PNB. My last year at SAB, I started to see that NYCB was not looking like it was going to work out for me, and, where I didn’t know a lot about PNB, what I had heard and knew about the company I liked. So I became a Professional Division student in August, 2002, then I got my apprenticeship in the spring of 2003. And I’ve been here ever since!

And we’re so happy about that, too! So what’s a typical “day in the life” like for you?

A typical day in the life of me? Well, since we usually work until 7 pm, we don’t have to start our morning warm-up ballet class until 10:15. Seems crazy to people with “normal” jobs but that extra sleep can really help when the days are long and exhausting. I get up at 8 am when we have class at 10:15. I immediately go to my dog Bonnie and let her outside to play, eat, etc. My boyfriend, Jerome (Tisserand), and I like to eat outside in the mornings if it’s nice. We will usually throw the ball to Bonnie before we leave too. Then it’s off to work. Class goes until 11:45 and rehearsals start at 12:05. Our lunch break is 3-4 and then rehearsals start back from 4-7. Now everyday is not this full. Some days you might have 12-1 then 4-5 and be done. It just depends on what we’re  working on. Right now on Tuesday and Wednesday nights I have Spanish class through Seattle University. It’s spanish 1 and they will also be offering spanish 2 and 3 consecutively. These Seattle U classes are great, and I try to take all that I can in order to slowly chip away at getting my degree one day. If I don’t have some SU class (they last until 9:30), I love to come home and make dinner. Then usually a bath is in order and then it’s bedtime for me by 11:00. Not too exciting, huh?!

I think it sounds very exciting, actually! {Grins} Okay, next question. With it being the holiday season, would you mind sharing your favorite “Nutcracker” experience with us?

I guess my favorite Nutcracker experience/memory would have to be getting to do Clara as a young girl in New Orleans. That was such a special time for me. It was my first real dancing part in point shoes, and I remember feeling so beautiful. Now, that has carried over into adulthood as I get to take on the role of Clara with PNB. Last year was my first year doing the part, and I have fallen in love with it! I love that it is not only beautiful dancing, but a wonderful chance to act as well. Clara is by far my favorite role.

I think the same can be said for a number of “baby ballerinas”! Speaking of which, what advice would you like to share with young dancers?

My advice would be work hard each and everyday if you have the dream and desire to dance professionally as I did, but don’t miss out on your childhood. I remember afternoons when I would go over to my friend’s house to jump on her trampoline after school. Somedays I would be having so much fun that I didn’t want to go to ballet class. My mom would always say that was just fine and let me keep playing (until I had to come inside to do homework, of course!). But the point is, if you’re serious about it definitely pursue it, but always do it because you want to and because it makes you happy. I never missed a sleepover, I just arrived really late and left really early for my Saturday morning ballet class!

Thank you so much, Laura for taking time away from your busy schedule for us. We really appreciate it and cannot wait to see you on stage again very soon!

To check out Laura in action, please purchase your tickets to Pacific Northwest Ballet’s “Nutcracker”. Visit PNB.org for more information.

PNB’s All Tharp Is a Hit

Tuesday, November 9th, 2010
Pacific Northwest Ballet soloist Rachel Foster and corps de ballet dancer Kiyon Gaines in Twyla Tharp’s Opus 111, presented as part of ALL THARP, Nov. 5-14, 2010.  Photo © Angela Sterling

Pacific Northwest Ballet soloist Rachel Foster and corps de ballet dancer Kiyon Gaines in Twyla Tharp’s Opus 111, presented as part of ALL THARP, Nov. 5-14, 2010. Photo © Angela Sterling

Pacific Northwest Ballet’s All Tharp features a power-packed triple bill that not only perpetuated my fascination with the choreographic genius, Twyla Tharp but proved to be the best two hours of my day, hands-down.

The production opened with Opus 111, a light-hearted blend of symmetry, buoyancy, and carefree charm. Carla Korbes and Batkhurel Bold made a rather striking pair, as did Lindsi Dec and Seth Orza. Korbes, with her soft feminine charm and Dec, with her precision and strength, held their own against Bold’s and Orza’s powerful “larger than life” stage presence.

One thing that really stood out to me though was… their feet. The women wore soft ballet slippers instead of pointe shoes. This delightful twist drove home the fact that PNB is a company of “golden arches” that don’t require the likes of burlap, glue and satin to make a statement. Speaking of which, I overheard one lady comment that she had no idea a dancer could dance like that without pointe shoes. (Oh contraire, my good woman. They can!)

Afternoon Ball was both poignant and borderline disturbing. (Think “Rocky Horror” Meets “Intervention”.) Benjamin Griffiths and Andrew Bartee delivered two of the most beautifully painful performances I’ve ever seen. Their characters left me feeling confused, rebuked and deeply saddened. Part of me wanted to jump into the fray and help them battle against their inner demons, while another part of me hoped they would be triumphant on their own. (You know, so I wouldn’t have to get my hands dirty.)

Pacific Northwest Ballet soloist Chalnessa Eames and principal dancer Jonathan Porretta in Twyla Tharp’s Afternoon Ball, presented as part of ALL THARP, Nov. 5-14, 2010.  Photo © Angela Sterling

Pacific Northwest Ballet soloist Chalnessa Eames and principal dancer Jonathan Porretta in Twyla Tharp’s Afternoon Ball, presented as part of ALL THARP, Nov. 5-14, 2010. Photo © Angela Sterling

Maria Chapman provided the raw, edgy third character in this troubled triangle. I wondered if her role was that of the “good girl gone bad” or perhaps the proverbial “monkey on the back”. In either case, her character seemed to have given herself over to this life, and was now encouraging the men to “suck it up and go with it” too. In stark contrast, Laura Gilbreath and Jerome Tisserand were the elegantly dressed ballroom couple, swirling in and out of this chaotic scene, their presence a tragic reminder of what could have been. As Griffiths’ character succumbs to his heartbreaking end, Gilbreath re-emerges as a beautiful angel of mercy, gently leading Griffiths toward heaven’s light and redemption. It was in that moment that I had to stifle the overwhelming urge to cry. What prompted such strong emotions, I can’t say for certain. However, any performance that can provoke that level of emotion is a definite winner in my book!

The third and final act was Waterbaby Bagatelles. This funky, deliciously orchestrated piece provided the much needed emotional relief following Afternoon Ball. The cool blue lighting and the lovely “waterbabies”, dressed in pale blue bathing caps and skirted tank suits, made you feel as though you were peering into the depths of a large aquarium. Carrie Imler and Chalnessa Eames were nothing short of fabulous while their partners, Lucien Postlewaite and Kiyon Gaines served as mesmerizing pieces of eye candy. In fact, this was the first time I’d seen Gaines perform a significant role (Yes, I apparently live under a rock) and I was totally blown away. His power, his control—my goodness, where did that man come from?
Pacific Northwest Ballet corps de ballet dancer Kylee Kitchens in Twyla Tharp’s Waterbaby Bagatelles, presented as part of ALL THARP, Nov. 5-14, 2010.  Photo © Angela Sterling

Pacific Northwest Ballet corps de ballet dancer Kylee Kitchens in Twyla Tharp’s Waterbaby Bagatelles, presented as part of ALL THARP, Nov. 5-14, 2010. Photo © Angela Sterling

The pas de deux featuring the talents of Leslie Rausch and Olivier Wevers was to die for. Their chemistry was as electric as the blue lighting hovering overhead and they were completely and utterly gorgeous. Once again, Batkhurel Bold blazed across the stage the way only he can. His entire performance was the fuel of dreams, bringing the audience to its feet when he gave his final bow. His partner, the incomparable Carrie Imler was nothing short of spectacular. Every time I see her, she brings new meaning to the word “artist”. (Love. That. Lady!)

(One last thing… how on earth did Olivier Wevers do those incredible backwards hopping push-ups? I mean, seriously?!)

All Tharp brings out the best in Pacific Northwest Ballet. They’re a scary-talented bunch – they know it- and if you happen to catch All Tharp this week, you’ll know it, too.

All Tharp runs from November 5-14th. For ticket information and performance times visit PNB.org.

PNB’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, please visit Pacific Northwest Ballet.

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

Dance Vacations

Friday, July 23rd, 2010

 

Courtesy of La Vie Photography Houston Ballet principal Melody Herrera and Lucien Postelwaite rehearsing a new work by Annabelle Lopez Ochao with Whim W'Him, a new Seattle dance company directed by Olivier Wevers.

Courtesy of La Vie Photography Houston Ballet principal Melody Herrera and Lucien Postelwaite rehearsing a new work by Annabelle Lopez Ochao with Whim W'Him, a new Seattle dance company directed by Olivier Wevers.

“Vacations are better put to use as immersion excursions. Apparently, I am not the only dance nerd in town. Others are spending their precious down time doing just what they love, dancing. For this crop, summer seems to be more about changing the where than the what.”~Quote Nancy Wozny, CultureMap.com

 

This article was just too good to keep to ourselves! Nancy Wozny of Culture Map-Houston, reveals what some of the world’s top dancers are up to this summer. Our favorite dancers of note include Whim W’him’s Olivier Wevers, Lucien Postlewaite, Melody Herrera and Annabelle Lopez Ochao!  You can read all about it here.

Congratulations, Laura Gilbreath!

Tuesday, July 6th, 2010

thrill_01_3Stop the presses! We just learned that Ms. Laura Gilbreath, one of our gorgeous Vala Dancewear models, was just promoted to the rank of soloist with Pacific Northwest Ballet! Woohooo!!! Congratulations, Laura! May you enjoy tremendous, ongoing success in all of your endeavors. We’re so proud of you! 

Laura Gilbreath is from Hammond, Louisiana. She trained with Phoebe Brantley in Baton Rouge, Joseph Giacobbe and Richard Rholdon in New Orleans, and on scholarship at the School of American Ballet and Pacific Northwest Ballet School. She joined Pacific Northwest Ballet as an apprentice in 2003 and was promoted to corps de ballet in 2004. She has danced leading roles in George Balanchine’s Diamonds, Prodigal Son, A Midsummer Night’s Dream, Serenade, Rubies, and Symphony in C; Ulysses Dove’s Dancing on the Front Porch of Heaven and Red Angels; William Forsythe’s One Flat Thing, reproduced; Ronald Hynd’s The Sleeping Beauty; Jiri Kylian’s Petite Mort; Brian Reeder’s Lost Language of the Flight Attendant; Jerome Robbins’ In the Night and West Side Story Suite; Kent Stowell’s Nutcracker and Silver Lining; and Susan Stroman’s TAKE FIVE…More or Less. Ms. Gilbreath has performed as a guest artist with Lafayette Ballet Theatre. (Information courtesy: Pacific Northwest Ballet)

Review: Pacific Northwest Ballet’s Coppelia

Monday, June 7th, 2010

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/Coppelia

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.

Pacific Northwest Ballet soloist Lesley Rausch with PNB School students and PNB company members in PNB’s premiere production of Coppélia: Choreography by Alexandra Danilova and George Balanchine © The George Balanchine Trust (after Marius Petipa). Photo © Angela Sterling

Pacific Northwest Ballet soloist Lesley Rausch with PNB School students and PNB company members in PNB’s premiere production of Coppélia: Choreography by Alexandra Danilova and George Balanchine © The George Balanchine Trust (after Marius Petipa). Photo © Angela Sterling

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.

By Denise Opper

Media Relations