Posts Tagged ‘Pacific Northwest Ballet’

8th Against the Grain/Men in Dance Festival

Tuesday, September 28th, 2010
Dioscuri photo by Colleen Dishy, dancers Danny Boulet, Sylvain Boulet, choreographer Donald Byrd.

Dioscuri photo by Colleen Dishy, dancers Danny Boulet, Sylvain Boulet, choreographer Donald Byrd.

Attention Seattle dance fans! There’s still time to purchase tickets to the oh-so-fabulous Men In Dance Festival! The biennial treat opens this weekend and is shaping up to be its best year yet! Check out the press release below for more details. {PS: We’ll be there on opening night…will you?}

 

8TH FESTIVAL FEATURES NEW CHOREOGRAPHERS ON THE RISE AND BRINGS BACK PAST SUCCESSORS

                                             

 (Seattle, WA) The 8th biennial Men In Dance (MID) Festival will be held at Broadway Performance Hall on the Seattle Central Community College Campus (1625 Broadway Seattle, WA 98122, (206)325-3113).  The festival will run October 8th & 9th at 8PM, 10th at 2PM and 15th & 16th at 8PM, 17th at 2PM.  Ticket price ranges from $12 to $20.  Tickets can be purchased through Brown Paper Tickets at 1-800-838-3006.  Credit card purchases through Brown Paper Tickets.  Cash and check sales only at the door. 

 

As the longest running dance festival in Seattle, MID brings together a broad cross-section of dance. From the genres of classical ballet, modern and tap, to the most current contemporary techniques including, spoken word and site specific work it’s all encompassing.  This powerful showcase will present new upcoming choreographic talent from Pacific Northwest Ballet, Cornish College of the Arts, and The University of Washington as well as some of our strongest choreographers from past festivals.  For the first time MID will expanded it’s reach past the Seattle area to bring in dancers from the Portland, OR based company Northwest Dance Project (Artistic Director Sarah Slipper) to perform a work created by one of our favorite past choreographers Gérard Théorêt.     

 

Returning choreographers of note:  Donald Byrd, Artistic Director of Spectrum Dance Theater, known for his thought provoking work will be premiering a new piece choreographed for Peter Boal, Artistic Director of Pacific Northwest Ballet.  Noted in 2008’s festival for his duet “Dioscuri” (inspired by the Greek myth of twin brothers Castor and Pollux) Michael Upchurch at the Seattle Times said the piece was a “sense of being immersed in a world at once rivalrous, tender and hermetic”.  Also returning to the festival will be Olivier Wevers, Pacific Northwest Ballet Principal Dancer and Director/Founder of the contemporary dance company Whim W’Him.  Fresh from his company’s premier last year, Wevers brings a new era of collaboration and artistry with his choreography that is sure to set the bar for the festival.  One of the founding female choreographers, Deborah Wolf, Professor of Dance at Cornish College of the Arts, will be returning to premier a new piece.  Wolf has received acclaim for her 2008 festival submission “The Hip Deep Family” inspired by the gothic humor of illustrator Edward Gorey, by being picked as one of the finalists at On The Boards A.W.A.R.D. Show!, produced by the Joyce Theater Foundation. 

 

New choreographers to note: Sonia Dawkins Director/Founder of Sonia Dawkins Prism Dance Theatre will have her premier at the festival this year.  Dawkins is known for explosive powerful movement with rhythm, speed and clarity of intention.  She will create a new piece for five male artists that focus on the “Voices of a Male”.  Also new to the festival this year is Barry Kerollis; dancer with Pacific Northwest Ballet.  Kerollis has been showcased three times at PNB’s annual Choreographer’s Showcase, and has already been noted for his work being “poignant, thrilling, architectural looking and momentum building”.  Kerollis will create a new piece for the MID festival that is inspired by a Brazilian instrumental group.  David Lorence Schleiffers, graduate of the University of Washington and Artistic Director/Resident Choreographer of Quark Contemporary Dance Theatre, will make his debut with our festival this year.  He will be reworking a former piece that looks at multiple aspects of male interaction including playfulness, friendship and a need for affection. 

Our complete list of choreographers is as follows: Week 1 – Donald Byrd, Barry Kerolis, Cheryl Johnson, Wade Madsen, Jason Ohlberg, David Lorence Schlieffers, Eva Stone, Alia Swersky, Olivier Wevers, Deborah Wolf.  Week 2: Sonia Dawkins, Louis Gervais, Cheryl Johnson, Geoffrey Johnson, Jason Ohlberg, Christian Swenson, Alia Swersky, Gérard Théorêt, Markeith Wiley, Deborah Wolf. 

 

As part of our community outreach, MID will be hosting a cross promotional ticket exchange with other performance venues.  In order to support all the great performances in the Seattle area we will offer discounted ticket prices for audience members that show a ticket stub from a participating performance group during the time of our performances.  Another way we are giving back to our community is by participating in the first Arts Crush.  This new month long festival will connect artists and audience with invigoration new experiences at hundreds of events across our region.  We will also be bringing back our family matinee performances, as we are committed to the idea that, dance is for all ages.  We hope that this festival inspires young people, particularly young men, to pursue their interest in dance.      

 

For more information go to our website: www.menindance.org or visit our Facebook page at: http://www.facebook.com/pages/Men-In-Dance/148709745156521?ref=sgm

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.

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)

PNB du Soleil – Former Principal Returns With Cirque

Wednesday, June 2nd, 2010

 

Photo: Trapeze, courtesy OSA Images. Costume credit: Marie-Chantale Vaillancourt © 2007 Cirque du Soleil

Photo: Trapeze, courtesy OSA Images. Costume credit: Marie-Chantale Vaillancourt © 2007 Cirque du Soleil

The world-famous Cirque du Soleil returns to Redmond Washington’s Marymoor Park with KOOZA, June 3-July 2.  Currently in its fourth year, KOOZA  “is a return to the origins of Cirque du Soleil: It combines two circus traditions – acrobatic performance and the art of clowning. The show highlights the physical demands of human performance in all its splendor and fragility, presented in a colorful mélange that emphasizes bold slapstick humor.” ~ Cirque du Soleil.com
 
This visual masterpiece features the jaw-dropping talents of 53 artists, including acrobats, musicians and dancers. And speaking of dancers (wink-wink!), the program’s artistic director, Adam Miller is a former principal with Pacific Northwest Ballet (1980-1986)!  Seriously, how cool is that?  You can read all about it here. 

 

 

Love, Passion and Dedication: Olivier Wevers & Lucien Postlewaite

Friday, February 12th, 2010

Just like Valentine’s Day, the dance world is all about love, passion and dedication. From the gorgeous costumes to the sumptuous sets, to the swelling orchestral music to the supreme dedication to one’s craft, everything is cloaked and bejeweled in love.

In our first Valentine’s Day segment, we chatted with the talented Seth Orza and Sarah Ricard Orza of Pacific Northwest Ballet. Next up in our special Valentine’s Day feature, we’ll chat with PNB principal dancer (and Whim W’him Artistic Director), Olivier Wevers about his marriage to fellow PNB principal, Lucien Postlewaite.

Olivier and Lucien met while working at PNB. The couple later tied the knot in Santa Cruz, CA on November 2nd, 2008.

Lucien Postlewaite & Olivier Wevers  Wedding Day, November 2, 2008

Like other dance marriages, this handsome couple doesn’t have to deal with the stress of trying to balance a career with spending quality time with their spouse. “Our schedule is pretty similar, which helps with spending time together,” says Olivier.

Additionally, Wevers cherishes the many emotional benefits a relationship with a fellow dancer brings. “We understand and support each other, and know when the other needs a little support or criticism. It {the dance world} is a very mental world…it plays with your insecurities and your mind. Having a spouse that deals with similar issues really helps. Also, we push each other as artists. We have both the same set of values, and help each other identify what our priorities are!”

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.

This Valentine’s Day, Olivier will be up to his eyebrows in “Work, work, work!” However, the pair does have a quiet, relaxing getaway planned. “On Sunday, I will be performing a Duke in the Sleeping Beauty with PNB at 1pm, and then driving like a mad man to get to Bellevue. FRAGMENTS is being performed at 3pm at the Meydenbauer center. {This is for Whim W’him, Olivier’s new company.} Then after that, I am meeting with a videographer to get the DVD ready from the 3Seasons to send to presenters, Directors, etc. So quite a busy day, but finishing with packing for beach, sun and margaritas! (We’re) leaving for Mexico for a week without a computer or cell phone!”

Pacific Northwest Ballet principal dancers Lucien Postlewaite and Kaori Nakamura as Prince Florimund and Princess Aurora in Ronald Hynd’s The Sleeping Beauty.  Photo © Angela Sterling.

Now that sounds like my kind of holiday!

You can catch Olivier and Lucien performing at McCaw Hall this week in Pacific Northwest Ballet’s, The Sleeping Beauty . More information about upcoming encore performances for Whim W’him can be found by visiting WhimW’Him’s website.

Valentine’s Day with Seth Orza & Sarah Ricard Orza

Sunday, February 7th, 2010

 

Seth Orza, Soloist and Sarah Ricard Orza, Corps de Ballet, Pacific Northwest Ballet.  Shown here in "Petit Mort".

Seth Orza, Soloist and Sarah Ricard Orza, Corps de Ballet, Pacific Northwest Ballet. Shown here in "Petit Mort".

 

Ah, Valentine’s Day! It’s the time of year when we shower our true love with tokens of affection, whether they be in the form of a box of chocolates, a gushy card, or a dozen roses (or all of the above!).

In the dance world, Valentine’s Day can be especially wonderful as couples not only live, but oftentimes work, together. We decided to get an inside look at the blessings of Valentine’s Day through the eyes of the dancers themselves. First up is Seth Orza and Sarah Ricard Orza of Pacific Northwest Ballet!

Vala: “How did you two meet?”
Seth: “We met in New York at the School of American Ballet’s when we were both 13.”
Sarah: “We met at the summer course. Then we got together and started dating seriously when we were both at the School of American Ballet for their year round program when we were 17. And we’ve been pretty much together ever since then. We’ve been together now for 12 years and married for 2 ½ years.”

Seth Orza and Sarah Ricard Orza shown here at SAB Summer Course, 1995 (Age 14). Seth & Sarah met at age 13.

Seth Orza and Sarah Ricard Orza shown here at SAB Summer Course, 1995 (Age 14). Seth & Sarah met at age 13.

Vala: “Congratulations, that’s wonderful! So what’s the best thing about being married to a fellow dancer?”
Sarah: “Well, I think that the dance world is just so small and intimate; sometimes it’s hard to explain or even relate to people who aren’t in the world on a daily basis—what’s going on, or what the daily ups and downs are like. So, if I’m having a bad day, Seth already knows why and that’s good.”
Seth: “We try to help each other out along the way through the pressures of ballet, performing, and all that.”
Sarah: “Oh, and travelling. If we tour, it’s great. It’s really nice to have your loved one with you when you’re going to all those places.”

Vala: “How do you two plan to make this Valentine’s Day special?”
Seth: “Well…” he says with a sly tone, “it’s kind of a surprise.”
Vala: (Laughing) “Oops! I don’t want to ruin anything!”
Seth: “We try to do something special every Valentines day, but it’s hard after twelve years to do something different every time.”
Sarah: “There was one year when I had the genius idea of getting chocolate covered strawberries from Godiva. So I got a dozen chocolate strawberries only to find that in the fridge at home, Seth had also gotten a dozen Godiva strawberries!” she laughs.
Seth: “We had a lot of chocolate strawberries!” he chuckles.
Vala: “Great minds think alike! So, do you have any last words of advice for fellow dancers out there?”
Seth: “It’s nice being in a relationship with a co-worker—or a dancer—and it does work out.”
Sarah: “It’s definitely a balance, though. I mean, we’re together at work all the time and then at home all the time. So sometimes there’s days when one of us has to step back and take some space—be it at work or at home. You just find that balance with spending all of your time together.”

Seth Orza and Sarah Ricard Orza on their Wedding Day

Seth Orza and Sarah Ricard Orza on their Wedding Day

Vala: “Do you ever have a day when you really don’t want to be with the other person but you still have to work with them?”
Seth/Sarah: “Oh no, never!” they laugh in unison.
Seth: “Of course, but I think that happens in any relationship.”
Sarah: “We have partnered together a lot, and that has challenges…”
Seth: “Yeah, working together professionally…I mean, if she’s just around it’s one thing, but if we’re working together, it’s kind of hard sometimes.”
Vala: “Well thank you both so very much! I really appreciate you taking the time to do this and I hope you have a wonderful Valentine’s Day!”
Sarah: “Thank you! You have a happy Valentines Day, too!”

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

WHIM W’HIM PART TWO

Sunday, December 13th, 2009

Interview: Olivier Wevers

Part One of our exciting interview with Olivier Wevers detailed the purpose and mission behind his exciting new company, Whim W’him.  Now in Part Two, Mr. Wevers speaks openly about the many changes that have occurred—both professionally and personally—since the birth of Whim W’him….

Kaori Nakamura, Whim W'Him

Kaori Nakamura, Whim W'Him

Vala: How has your life changed since your company’s inception—as a dancer, as a choreographer, an artist and as a person?

Olivier: (Gasping)  Oh my god—it’s totally changed!  I mean—(laughs)–I have no more days off.  That’s just being busy.  You know, every day off that I have, I’m trying to schedule a meeting or I’m working on the computer.  Usually my life before—the focus was really on being a dancer, which was really kind of selfish, because it was really just about the work I was doing.  So, I would wake up in the morning, get ready to dance, and when I was done dancing I could relax and do what I wanted, and I had days off that I would enjoy.
Then I started choreographing and doing commissions for other places, and started having to run around town.  So, the last few years when I was choreographing, for Spectrum for example, I would rehearse at PNB until 3 and I would make sure to schedule a rehearsal for 3:30 at Spectrum—which would give me just enough time to get there—so I’d usually be eating in the car on the way there.
Now on top of that, I’m also running this company, trying to do fundraising, scheduling–I mean everything.  I’ve been doing absolutely everything and it’s been crazy!
Vala: And yet, would you change anything about it? Would you go back to the way it was?

Olivier: Well you know, it’s interesting because there are moments when I’m like, “What am I doing?  Why couldn’t I just live the way I was living, and just have time to relax, breathe, and not have so many responsibilities?”   I mean, there are huge responsibilities that come along with all of that, and then there’s the pressure.  I mean, there have been days where I just wake up and I don’t know where to start.   I don’t want to do anything and I’m like, “Can I just—go shopping?” He laughs.

Vala: (Laughing) But no, you can’t!
Olivier: Right! So like, I’ve been asking my friends, “Is this “depression” or is this “overwhelmed” where I wake up and I just want to go back to sleep?
Vala: Oh, I’d like to say it’s the latter. But that makes sense. We all get so used to a certain way of life. Then one day we decide to turn everything upside down, shake it, then stand back and ask ourselves, “Now what?”

Lucien Postlewaite, WhimW'Him

Lucien Postlewaite, WhimW'Him

Olivier: Right!  Exactly!   Also what has changed is that I don’t get my 8 hours of sleep anymore. Which I really loved to get when I was just a dancer; I really needed 8 hours of sleep!  That has come down a lot. Now, I wake up an hour and half earlier, and for more than an hour, I’m sending email and working on the computer.
Then I take my class; usually after class I have phone calls to make or emails that I have to check.  Then when I have a full day at PNB, usually all I have time to do at night is come back here and finish my work and try to do it on my days off.  When I don’t have too much rehearsal at PNB, usually I’m rehearsing for the show that’s coming up in January, or doing my fundraising, or contacting presenters for future touring, or scheduling rehearsals.
Recently we had this big fundraiser.  I had a volunteer who did so much work for me, which was great. But after that, I had to write more than 50 cards thanking the donors.  So there’s always work to be done. Constantly people that need to be talked to—lighting designers, composers, dealing with the costumes—I mean, it’s every aspect that I’m working on.  So usually, throughout the day, I don’t stop.
Vala: It doesn’t sound like it! It sounds like you’re running around like crazy.
Olivier: Yeah, it’s constant but it’s really exciting, too.  Actually, last night I went and saw a movie.  I mean—I just had to get out for a little bit.  So I started watching the movie, and then I realized—for like a minute—that I wasn’t even watching the movie.  Instead I was thinking about all the things I had to do!  And I was like, what am I doing?  I came here to escape!  So, I told myself just escape and I’ll deal with this in two hours, he laughs.
Vala: Oh goodness! So were you able to successfully turn your brain off after that?

Olivier: I was, I was. But only after I caught myself looking at the screen thinking, I don’t know what’s going on! I’m busy thinking about things I have to be thinking about.”

Coming up in our third installment, Olivier reveals the unique qualities that not only set Whim W’him apart, but also breathe new life into the global (and local) dance community!  Check back soon to read all about it!

Mark your calendars for the premier of 3 Seasons January 15-17, 2010 at On the Boards.

By Denise Opper

Media Relations: Vala Dancewear/Class Act Tutu

Review: Pacific Northwest Ballet’s Nutcracker

Thursday, December 3rd, 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. 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

Director’s Choice, Pacific Northwest Ballet

Friday, November 13th, 2009

The Seasons, Pacific Northwest Ballet's Director's Choice
Pacific Northwest Ballet soloist Lesley Rausch in the world premiere of Val Caniparoli’s The Seasons, presented as part of DIRECTOR’S CHOICE, running November 5 – 15, 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…

Pacific Northwest Ballet, DIRECTOR’S CHOICE, running November 5 – 15, 2009.
All Photographs © Angela Sterling.

Petite Mort

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

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 Suite

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.

PNB’s Director’s Choice runs from November 5–15, 2009.
Don’t miss it!

Breaking News…

Tuesday, November 10th, 2009

Pacific Northwest Ballet's Nutcracker Head (design by Maurice Sendak)
Pacific Northwest Ballet’s Nutcracker Head (design by Maurice Sendak)

Herr Nutcracker was found at 8 am this morning, disoriented and clinging to life on the floor of a darkened room at an undisclosed location on Mercer Street, weakly muttering “Ich habe dir vertraut elender Verräter”. While being carried into the waiting ambulance he began screaming “Ich schwöre bei Gott Clara, ich werd…e ihm die Hoden abgeschnitten”. He managed to squeek “Ich bin allergisch gegen Nüsse” before he was quickly sedated by emergency personnel, then air lifted to the CJDL Design facility where he was rushed into the emergency room. Unresponsive and in severe critical condition, he is being stabilized in preparation for surgery.

Dr. Drosselmeyer confirmed that Herr Nutcracker has sustained serious injuries. He suffers from a fractured skull and has been scalped. In what seems to be a botched lobotomy, parts of the frontal and parietal lobes are missing. His left ear has been ripped off and the police, as well as the postal service, are on the lookout for a small box with no return address. His lower mandible is severely dislocated and chunks of his beard and mustache have been pulled out. The entire lower portion of his body is missing.

The surgeons will be operating over the next 36 hours but his diagnosis is grim. We will keep you posted on this troubling situation.

by Christine Joly de Lotbiniere

CJDL Design