Archive for the ‘Uncategorized’ Category

Some Enchanted Evening — Kent Stowell’s Swan Lake at PNB

Sunday, February 11th, 2018

FEB 2018
It was quite thrilling to attend a full dress rehearsal of Pacific Northwest Ballet performing Kent Stowell’s Swan Lake (https://www.pnb.org/repertorylist/swan-lake/), on Thursday, Feb 1. The venue was the Marion Oliver McCaw Hall (https://www.mccawhall.com/home) in Seattle, the company was Pacific Northwest Ballet (www.pnb.org).

The astute, unshakable Gary Tucker, media relations, warned that the dress rehearsal might not be of performance quality. But – the performance was indeed stunning. “Smooth” is the general descriptor for the performances that comes to mind. Seth Orza as Prince Siegfried was in great form, Noelani Pantastico’s Odette/Odile was breathtakingly transcendent, and Kyle Davis, as the jester was the embodiment of energy unleashed, unbridled youthful energy. Indeed every principal character, from Margaret Mullin’s Queen Mother to Lindsi Dec in her Persian variation seemed to be listening intently to the music, and none more than Noelani Pantastico.

Especially in a story/storied ballet such as Swan Lake, one thinks of the virtuosic turns. This production did not disappoint. Davis’s moves cut through the air, his legs extending like sharp scissors. He delivered wickedly fast (and precise) turns à le seconde, morphing them into passé, at will.

Pas de trois with Leta Biasucci, Benjamin Griffiths, Angelica Generosa Photo © Angela Sterling

Pas de trois with Angelica Generosa, Benjamin Griffiths, Leta Biasucci Photo © Angela Sterling

In the Act I pas de trois, Benjamin Griffiths (with his spotless turns and marvelous pirouettes ever so slowly opening to extensions à le seconde), Leta Biasucci (with lovely timing on her cabrioles and fast foot work), and Angelica Generosa (kudos for her clean tour jeté) looked like they were truly enjoying themselves. Griffiths’ grand jeté en ménage were beautifully executed, the epitome of control. In Act III, Orza brought a showy display, with big moves and gorgeous double tours, handsome beats, beautifully filling in the music.

It was Noelani Pantastico, however, who stole the show. Swan Lake goes to the ballerina, it rises and falls on who and what the ballerina is and does. Pantastico delivered a lush white swan pas de deux in Act II. She literally threw herself into prince’s Orza’s arms.

The ballet is a brutal trial by fire on many counts – brutal for the stamina, footwork, and emotion it demands – love lost, identity crises, poignant decisions. It requires a huge range of skill and finesse. A case in point was Pantastico, fighting her way away from Orza at the end, knowing she must. The beautiful choreography has her echoing in her body, the gestures of the corps of swans. Her last move, the bourée carrying her across the stage, floating, as it were in the fog of dry ice, is ever memorable.

Nolan Pantastico and Seth Orza's intimate pas de deux Photo © Angela Sterling

Nolan Pantastico and Seth Orza's intimate pas de deux Photo © Angela Sterling

Sitting in the upper tiers, I could easily see the elegant patterns of the swan corps, the unison movement of their arms, the subtle gestural changes, the ease of their waltz. The music commanded the attention of the dancers. Concertmaster Michael Jinsoo Sim sailed through the challenging violin sections.

This week, the performances have been praised for their production qualities – from the thicket of trees scenery that encase the opening scenes to the glorious music. Yet the star of the show is the dancers themselves. Dynamics is the key here, from the almost leisurely waltz of Orza with his potential princesses to the dazzling antics of the evil Odile. An extra bonus was seeing Kent Stowell and Francia Russell, choreographer and stager, back in the Opera House, undoubtedly pleased with a beautifully rehearsed and rendered production – art and entertainments at its smoothest, and most elegant.

Whim W’him Soars with CONFIGURATE

Wednesday, January 31st, 2018

JAN 2018

Whim W’him delivered its best mixed program yet with its January, 2018 production of Configurate. The program consisted of compelling works by 2014 Princess Grace Awardee Gabrielle Lamb (making a company debut), Sadler’s Wells Global Dance Contest winner Ihsan Rustem, and 2012 Princess Grace awardee and artistic director Olivier Wevers. His 6 Love Songs constituted his 23rd new work for the company.

Indeed, Configurate offered new works with the objective of inspiring “love, compassion & empathy,” according to the program notes – and such is what the choreographers delivered. The dancers must have taken notes, for their total commitment to the program was a major part of what made it so memorable.

In the first piece, Gabrielle Lamb’s Joinery, the production elements – the stenciled lighting, the music collage, the attractive powder blue and light grey of the costumes – combined to produce a piece I would want to see again and again. The piece had the look of contact improv, while conveying intensity and emotion, even in the smallest of statements. The ensemble movement was beautiful, meaningful, and deliberate – as if moving through thick air – push, pull; push, rebound, falling in and out of intriguing patterns. This gentle dance was like some sweet conversation. Shout outs to Karl Watson who was mesmerizing to watch, Tory Peil for her commanding leg extensions and measured moves, and Jim Kent, one of the most musical dancers in what is an extremely musical group. Accolades to Michael Mazzola, who conceptualized and designed the lighting.

Choreographer Gabrielle Lamb in rehearsal

The second piece, Olivier Wever’s 6 Love Letters was just that – a very tender duet with Jim Kent and Karl Watson, a humorous offering by Peil and new dancer Adrian Hoffman, a moving triplet with Liane Aung, Mia Monteabaro, and Peil, a unison pastiche with Kent and new company dancer Cameron Birts, a lively duet with Hoffman and Birts, a gesture-driven duet with Watson and Aung.

Kent and Watson’s lifts were intimate (with Watson doing the heavy lifting), bodies lumbering every which way, sometimes scraping the floor, with Kent luxuriating in Watson’s embrace. Peil and Hoffman danced in their own separate worlds, yet seized the opportunity to cradle each other.

Kent and Birts’ duet was strong – the unison dance was perfectly delivered, the solo movement, committed and coherent. Birts is an excellent match for Kent’s exquisite dancing. Birts had another chance to show us his smooth moves in a duet with Hoffman – offering dozens of ways to locomote and to gesture – brilliant moves from choreographer Wevers. Next up was Watson and Aung, offering arms Balanchine-esque, as the dancers turned and twisted around each other, limbs active even as Aung suspended in a lift. All performed in attractive maroon tops and short, short burgundy satin shorts to a taped piano score. The scenic design consisted of lighting sticks (LED strips of light), spelling out parts of the letters for “LOVE.”

6 LOVE SONGS Source: Company photos

The final piece on the program, the allegorical Seed by Ihsan Rustem, was a knock-out. Ihsan created the soundtrack with heart beat sounds and interviews with the dancers themselves.

It’s nothing less than a birth through death experience, all in one hypnotherapy session – for an individual, Watson, from the time he exits his creator’s body, through to being watered and otherwise nurtured, to being mature enough to engage in a strong duet with Aung. Like clay in the hands of a sculptor, Watson and Aung moved beautifully with each other’s touch – a testament to the nurturing that helps to define us.

Even though Watson is a centerpiece of attention, Hoffman and Peil, Hoffman and Watson, Birts, all danced BIG to both the vibrato and sweep of the music. The piece offered an effective use of unison dancing, flowing and continuous movement, and especially unpredictable phrasing. This piece – sometimes fusion, sometimes more like intimate touch, other times stage running – captured the audience’s attention. Loose costumes allowing for the free movement of the dancers, designed and constructed by Mark Zappone, compelling voice overs of the dancers themselves, terrific stage lighting, and gripping percussive music combined to make for a fitting close to a most wise, loving, and empathetic Configurate.

Nutcracker 2017: Never Old

Thursday, December 21st, 2017

In December 2014, Pacific Northwest Ballet rolled out its new Nutcracker – Balanchine’s version, complete with animated films. This new Nutcracker was four years in planning for PNB, and it boasts the familiar (Tchaikovsky’s iconic score, lots of stellar dancing, lots of small children, Act II variations) and the new (an adult-only Clara, new costumes including the snowball sticks held by the Snowflake corps, a smaller multi-headed Mouse King). In the past two years, I’ve seen a number of principal couples, but Lesley Rausch and Batkhurel Bold, Laura Tisserand and Miles Pertl, and Leta Biasucci and Benjamin Griffiths stand out for me.

Pacific Northwest Ballet Company Dancer's in George Balanchine's The Nutcracker, choreography by George Balanchine © The George Balanchine Foundation.

Act 1 Battles Photo: Angela Sterling

Of course, the production does not rise or fall on the basis of these couples’ work. So much goes into a Nutcracker production, especially since children are involved. For one, there is a multitude of costumes and props. Still, the couples are important because they are the touchstone for the entire second act. Each of the three have brought something completely different to the stage.

Real-life couple Rausch and Bold have a unique chemistry and tenderness on stage. Rausch with her spotless technique, her patrician posture, is a stunning counter to Bold’s more dramatic ways. He, too, astounds with his flawless turns and leaps, but together, they show us how their varying deportments, combined, can lead to great drama on stage.

Tisserand and Pertl are electric together. “Cavalier” is a relatively new role for Pertl; he offers a fresh and eager prince whereas Tisserand has a singular and commanding stage presence. Pertl is ever-attentive to his Sugar Plum Fairy.

Biasucci and Griffiths are both “givens” in terms of their impeccable technique, and this is what they deliver – reliably, irrespective of the program, and Nutcracker is no exception. If I want to see perfection, this is it.

The Nutcracker run is critical to the success of a company. It wasn’t always performed at Christmas, but in the past years, it most certainly has been. As Peter Boal noted in the December 2017 Encore program (p 10), “You are one of 100,000 people of all ages who come to see this magical production each year…” This is a large house – for current and present productions. As Boal notes (citation the same), “The Nutcracker has often served as an ideal entry point into the world of ballet…” Watching the different casts perform helps to keep The Nutcracker fresh for me. This reviewer finds a fresh entry point into the world of ballet via Nutcracker each year.

So You Think You Can Dance 2017 at the Fifth Avenue Theater in Seattle

Thursday, November 30th, 2017

So You Think You Can Dance? is gut partnering at its highest level of trust.

It was several years ago that I began watching the reality show. I must admit from the title, and the little I knew about it, I hadn’t been interested. There just didn’t seem to be very much for me in the series. However, that July, several years ago, at a family reunion in coastal North Carolina, I was hooked. I was astounded by the level of dance (and of course, I was watching the final shows leading up to the finale, wherein the dancers are giving it their all). Where had these dancers been hiding? Further, I was ashamed not having heard of these choreographers. Where had I been hiding (in the opera house)? The performance level of both dancers and dance was, well, sickSo You Think You Can Dance? Doesn’t always get it right (the highly competitive prepubescent dancer season did little for me, actually zero), but when it does, it really does.

The reality-show piece aside – the glossy backstories, the competitive cash prize, the voting, the judges – this is a program that elevates all kinds of dance. This is achieved primarily through the work of the top choreographers of all genres selected to set pieces, the production elements (costumes, lights, make-up, scenic design) that enhance the dance, the exceptional dancers. The dancers develop as artists, actors (in fact, one part of the top prize is often a spot in a Broadway show). To me, this all is a magnificent synergy to often (not always) create an unparalleled viewer experience. Especially, when viewed live. On November 26, 2017, I had the happy opportunity to do just that.

I was not alone. The Fifth Avenue Theater was packed with loyal fans – each entrance of each dancer resulted in riotous, delirious screams. Obviously these people in the audience had TV-lived with the 10+ dancers on their long journey to this tour.

That night, the soulful Logan Hernandez entered first, one of my favorites. A lanky I-can-do-anything technique-wise dancer, he was everyone’s season favorite. Lex Ishimoto, however, was the season “winner.” He seemed like a taller Logan, who had developed style, and learned to deliver charisma and emotive performances more and more as the weeks progressed. Both Logan and Lex had technique and control, they could pretty much do any aerial trick tossed at them. The most astounding moment for me in the past season, tricks-wise, was Lex performing a triple tour and landing on a dime, softly, beautifully turned-out.

Kiki Nyemchek, a multi-talented ballroom dancer, performed a jazzy season favorite with past-season superstar Jasmine Harper. Dassy Lee dazzled with her brilliantly suave moves, as well as her animation. Lex and second-runner-up and real-life partner Taylor Sieve delivered a consummate articulation, to be interrupted by gumby Logan with the smoothest of adagios. Past superstar Marko Germar and first runner-up Koine Iwasaki performed a gorgeous animalistic dance. Logan turned with his back leg flexed and foot held high at his face. Taylor leaped into Lex’s arms in a second position second position, legs split wide, seemingly forever.

There’s more. Arabesque held in a handstand. A dozen pirouettes a pop. The maniac Logan leaping onto his hands. Barrel turns with Lex’s head touching his feet. Splits in every possible direction, 270 degrees, more.

SYTYCD features displays of flexibility and strength, abdominal control to the max, a load of emotion that creates an intimacy, among the dancers, that is almost too personal to watch. These dancers are young (half the dancers were teens). To survive the grueling schedule, their training begins with the “Academy,” when, in the competition, over a 100 dancers are dwindled down to 20, then 10.

The choreographers are the stars. Christopher Scott, Mandy Moore, Luther Brown, Spencer Liff Travis Wall, Val Chmerkovskiy, Sean Cheesman, Tyce Diorio, Warren Carlyle, Dmitri Chaplin, Ray Leeper, Stacey Tookey, more. Perhaps the show will be renewed for a Season 15 is underway. If so, then the dancers have auditioned, and now they are competing at the “Academy” for top spots on the show. This is a young sport for young dancers, they could not survive the injuries and stress if this wasn’t true. I can only imagine.

Ballet in Cuba

Sunday, November 26th, 2017

Alicia Alonso’s Ballet Nacional de Cuba in performance is one of the must-sees in any Havana tour. I attended a conference in Cuba in November, which allowed me to see not only her company at the magnificent Gran Teatro de La Habana, but also that of Roberto Chorens and her daughter Laura’s Ballet “Laura Alonso,” in conjunction with Teatro Lirico Nacional de Cuba in the Teatro Nacional.

The Teatro Lirico Nacional de Cuba & Ballet “Laura Alonso” offered a mixed program on November 19, 2017. Particularly stunning was the Romeo and Juliet of Ivan M. Alonso — with Niria Elena Alvarez and Vladimir Piedra in astounding balances, striking ballon which means striking cabrioles, and showing a flexibility that resulted in breathtaking arabesques. The dancers were beautifully on point, playing with the tempi in the slow movements, or whipping through the fast in Giselle (choreographed after Jules Perrot and Jean Coralli), in this mixed program. The ballet showcased the strength, balance, and speed, much less litheness, of leads Patricia Hernandez and Luis A Nunez.

Five days later, on November 23, the Ballet Nacional de Cuba performed at the Gran Teatro. The program consisted of the grand pas from Le Bayadere featuring Ariel Martinez and newcomer Barbara Fabelo, the world premiere of Ely Regina Hernandez’ Anyali danced by Annette Delgado, Dario Hernandez, and Adrian Sanchez, and Alicia Alonso’s La Fille Mal Gardée with Chanell Cabrera, Yankiel Vazquez, and Narciso Medina.

In all three pieces, the dancers flaunted their fast, articulate style, making the dance all the more striking. Earlier that morning, I had seen Le Bayadere and La Fille Mal Gardée in rehearsal. In that rehearsal, Felix Rodriguez, one of the ballet masters and a first principal character dancer, put the dancers through their paces. The rehearsal was long, but the dancers seemed to maintain their stamina throughout. The same was true for company class, which I also was fortunate to watch. Identifying many of the same dancers in the performances that evening was exciting and gratifying.

Image may contain: 7 people, people smiling, people standing, sunglasses and stripes

Felix Rodriguez and Alicia Alonso Source: Company photo

Anyali, however, was the surprise of the evening. The piece featured the eerie music of Ezio Bossso and carried a black and white motif in the costumes and lighting. It featured a stark theme in the movement itself. “Anyali” is both a name and a politicized word and Annette Delgado brought life to both meanings, dancing with the highest confidence and grace.

Pacific Northwest Ballet’s Her-Story

Sunday, November 5th, 2017

November typically brings a mixed bill for the Pacific Northwest Ballet. It is also when the dancers graciously donate their salary from the opening night performance to Second Stage, PNB’s career transition support program for the company. The previous year, the mixed program featured Twyla Tharp’s Brief Fling, performed to live music, Jiri Kylian’s haunting Forgotten Land, inspired by the artwork of Edward Munch and first performed by the Stuttgart Ballet, and Balanchine’s Stravinsky Violin Concerto, featuring the masterful violin of concertmaster Michael Jinsoo Lin and previously not seen in PNB’s programs since 2001.

This is a tough act to follow, but the 2017 program successfully met the challenge by featuring Jessica Lang’s Her Door to the Sky, Twyla Tharp’s Afternoon Ball, and Crystal Pite’s Plot Point. The Lang and Pite works were particularly enthralling.

In Her Door to the Sky, Lang created a Georgia O’Keefe landscape for her dancers. The costumes were hand-dyed works of art, the colors reminiscent of the Southwest. This clever piece features dancers ebullient — gay, country dancers, bursting out of a series of windows (the frames were part of the scenic design). In one performance, Elizabeth Murphy (unstoppable in her maximum-turnout attitude tours) was the siren in the window, in another, it was Sarah Ricard Orza, simply gorgeous as she reclined in one of the window frames. Together, the dancers helped paint the very English music of Benjamin Britten – they danced as if they were on top of it, mirroring the form and lightness of the music. The dancers were guided by a series of different colors of lighting – white, turquoise, a bluish purple, as well as the swelling music – especially at the end, when a showering of lifts, almost percolating up through the atmosphere, and quick dancing dominated the stage. Rarely does a piece come together so beautifully.

In Afternoon Ball, Leta Biasucci is the one to watch. She digs into every move. She rarely anticipates or announces her dance. Rather, she makes the dance look exceptionally fresh. Ezra Thomson also was compelling to watch, one of the most impressive performances I have seen from him. Opening night, it was Benjamin Griffiths and Angelica Generosa who stole the show. Pacific Northwest Ballet's HER STORY at McCaw Hall November 3-12, 2017

Pite’s Plot Point, billed as a study in storyboard, is set in mysterious montages that tell a story of false friendships, illicit affairs, and criminal mal-doings, set against Bernard Herrmann’s impressive score from Psycho, with additional and powerfully effective design by Owen Belton. Shout out to scenic designer Jay Gower Taylor, costume designer Nancy Bryant, and lighting designer Alan Brodie for the stark, intriguing production elements. The piece literally consists of plot points – a man struggles with some thugs, guests celebrate a birthday party, someone hands off a briefcase to another, the Psycho bathroom scene is evoked – watched carefully and even mimicked by a set of alter-egos. Those alter-egos represent some of the thought processes of the key players – what they thought they would do, what they should have done, what consequences they need to live with.

The music is haunting, the solos are beautiful, the intricate staging by Sandra Marin Garcia is literally picture-perfect. Brava for this exceptional, stylized piece, Crystal Pite!

Photo Credit: © Lindsay Thomas

A New Season for Pacific Northwest Ballet

Saturday, September 30th, 2017

Pacific Northwest Ballet opened its 2017-2018 season with the full production of George Balanchine’s Jewels. To celebrate the new season and this ballet (which first premiered 50 years earlier, on April 13, 1967), Jerome Kaplan produced new costumes (with newly-fashioned tiaras) and scenic design (for example, for Diamonds, the chandelier is replaced by an upstage large picture frame).

Close-up of an Emeralds bodice designed by Jerome Kaplan for upcoming production of George Balanchine’s “Jewels.” (Photo © Lindsay Thomas.)

A redesigned Jerome Kaplan "Emeralds" bodice in PNB's production of George Balanchine’s “Jewels.” (Photo © Lindsay Thomas.)

In Emeralds, Josh Grant and Leah Merchant were excellent storytellers, such that the swelling of the Fauré score, its shadings and nuances were expertly mirrored by the couple. There were no throw aways here, every move counted, and that included Emma Love’s arabesque turns, Leah Merchant’s luxurious developpé arabesques, Dylan Wald’s utterly precise batterie, his high ballon, ending in silent landings, his outrageous tours and balances. Wald is charismatic on stage. Wald in the corps is like Noelani Pantastico being part of an ensemble – it is a contradiction in terms. Clearly Wald is on the rise.

In Rubies, it was Rachel Foster’s turn to impress (with her fast, precise turns and wild battement penché) and partner Benjamin Griffiths’, with his exact jeté, sparkling (and soft) landings, impressive aerial work with multiple cabrioles. This is a ballet that is a platform for technique. All moves must be squeaky clean – and fast and evocative of Stravinsky’s jazzy themes. Kudos also to Cecilia Illiesiu – for her good control in high, high battement and lots of flexible hips. It was Foster, though, who was a gumby.

These dancers, and the entire cast, delivered the attack and assurance needed for Rubies, while still maintaining its consummate structure, as well as that of Stravinsky’s Capriccio. Of note, too, was Sarah Ricard Orza, who headlined Diamonds, confidently partnered by William Lin Yee. She danced with great calm and elegance, gracefully maneuvering her arms, at the same time mastering the power that the piece demands.

Roberto Bolle and Friends

Monday, July 10th, 2017

Italian ballet superstar Roberto Bolle is a global sensation, as evidenced by his “Roberto Bolle and Friends” at the Florence Opera House this summer. Those friends included Taras Domitro of the San Francisco Ballet, Melissa Hamilton of the Royal Ballet in London, Misa Kuranaga of the Boston Ballet, Danil Simkin of American Ballet Theatre, Polina Semionova and Dinu Tamazlacaru of Staatsballett Berlin, Liudmila Konovalova of Wiener Staatsoper in Vienna, and international guest artist Adiarys Almeida.

Roberto Bolle and Friends_Terme di Caracalla_Roma, 2016

Source: http://www.robertobolle.com/bolle-tour-2017/

Bolle is immensely popular in Italy. As the program notes say, “e riuscito ogni volta a ricreare per ognuno di questi appuntameniti uno spettacolo magico,” i.e., he has succeeded to recreate “a magical spectacle” at each performance.

To see these international stars performing pas de deux and excerpts from Edwaard Liang’s Wunderland, Petipa’s Carnevale di Venezia, Don Chisciotte, and Il Corsaro, Annabelle Lopez Ochoa’s La Pluie, and Ben van Cauwenbergh’s Les Bourgeois in the beautifully designed (and air-conditioned) Florence Opera House (l’Opera di Firenze) is a welcome cultural respite in an otherwise sweltering hot Florence in July.

Bolle, himself, performed – expertly, exquisitely, elegantly – in five pieces. He was stunning in the classic La Bayadere, animated in Robert Bondara’s contemporary Take Me With YOU, stylish in Roland Petit’s Carmen, imposing in Mauro Bigonzetti’s very modern Caravaggio, and transcendent in Massimiliano Volpini’s Rencontre.

As an ambassador of fine dance, exquisite dancers, and the need to support both, one could ask for little better. Bolle, as impresario and artistic director works his magic to bring leading stars, i.e., spectacular talent, on grueling tours to highlight the importance of the international language of dance. He brings together diverse styles, but also diverse schools – the elegant and the academic combine to produce a remarkable viaggio di emozioni (literally, a tour of the emotions, from the Program Notes) and a singularly dramatic, beautifully-executed spectacle. Bravo, Roberto!!!

Brava! Bravissima! PNB’s sparkling Jessika Anspach

Thursday, January 5th, 2017

Pacific Northwest Ballet’s Jessika Anspach took her final bow on the Seattle Opera House stage last June. The longtime PNB dancer enjoyed 12 years in the Company, and 14 years in the School before then.

I first encountered Jessika during the writing of the second edition of Finding Balance. The book features images of a teenage Jessika participating in conditioning exercises of various sorts. What struck me at the time was her commitment, her dedication to the project. Since then, I have seen her perform, maybe a dozen times a year. I have seen her grow into a mature, confident dancer, with a mesmerizing persona and personality. Entries in PNB’s blog, as well as posts in her just-jessika.blogspot.com, reveal a passionate advocate for dance and lifelong learner. This gracious and skilled ballerina will have more noteworthy exploits, documented in her writing. We eagerly await news of them.

A hard worker, writing as well as dancing

Always a stand out

https://www.google.com/search?q=PNB+Jessika+Anspach+photos&espv=2&biw=1307&bih=659&tbm=isch&imgil=d1T8y_UZNfRKcM%253A%253BalIT1Ofh9IBr5M%253Bhttps%25253A%25252F%25252Fpnbunleashed.wordpress.com%25252F&source=iu&pf=m&fir=d1T8y_UZNfRKcM%253A%252CalIT1Ofh9IBr5M%252C_&usg=__W2QEO71QIxq20-zpc4_Y1HLe7uw%3D&ved=0ahUKEwjXgIms-azRAhUFMGMKHRzoA58QyjcIOQ&ei=u0BvWJe3M4XgjAOc0I_4CQ#imgdii=UxLKFjIgX_v13M%3A%3BUxLKFjIgX_v13M%3A%3BCSE5VEAQ8H6BGM%3A&imgrc=UxLKFjIgX_v13M%3AA hard worker, writing as well as dancing

Next up for Pacific Northwest Ballet and much excitement for us all: CENDRILLON

Tuesday, December 20th, 2016
Seattle audiences soon will be treated to another Jean-Christophe Maillot story ballet — Cendrillon/Cinderella February 3-12. Maillot’s remarkably cohesive yet unpredictable choreography most certainly will be entertaining, as well as provocative. In his rendition of the tale, Cinderella’s mother (in the role of her fairy godmother) and father take center stage. Glitter covers Cinderella’s otherwise exposed feet, and secondary characters surprise with completely unexpected moves and attitudes. The quirky costumes and bare sets  enhance this morality play-cum-drama. Expect emotional dancing at its finest.A scene from Jean-Christophe Maillot’s Cendrillon. Pacific Northwest Ballet will present this Cinderella story from the creators of Roméo et Juliette February 3 – 12, 2017. Photo © Marie-Laure Briane, courtesy of Les Ballets de Monte Carlo.

A scene from Jean-Christophe Maillot’s Cendrillon. Pacific Northwest Ballet will present this Cinderella story from the creators of Roméo et Juliette February 3 – 12, 2017. Photo © Marie-Laure Briane, courtesy of Les Ballets de Monte Carlo.