Pacific Northwest Ballet: ‘Director’s Choice’ Review

3 Oct

Welcome to October, and the beginning of what I shall deem “Reader Appreciation Month.”  As far as I’ve planned (which truthfully isn’t that far in advance) I’m dedicating every entry I write this month to faithful and friendly readers.  I’ve been inspired by a few suggestions of what readers have said they would like to see and have actually begun the process of doing the necessary thinking and research—it’s pretty exciting for me.  However, to kick off the festivities I shall be doing a review of Pacific Northwest Ballet’s October 2nd performance of their season opener, “Director’s Choice,” which includes works by Jiří Kylián, Nacho Duato and Jerome Robbins.  I dedicate this entry to Karena, who tolerated me in class, taught me things I needed to know, continues to encourage my potentially unhealthy obsession with ballet and simply told me that she wanted to hear my thoughts on the show.

First of all, I have to say it’s been months since Coppélia and I’ve been dying without live performances.  Dying.  So I was really looking forward to this.  It was also a night of firsts for me, as I’ve never seen Kylián, Duato or Robbins ballets live before.  I have seen the film version of Petite Mort (performed by the Nederlands Dance Theatre), and actually this is one of the first dances I ever saw, way back in the heyday of my introductory ballet classes, so I have a particular affection for it.  While I wasn’t as familiar with dance vocabulary at the time (as in, I knew virtually nothing) I remember falling in love with the piece and more specifically the mood of it.  The whole dance is washed in beautiful golden tones and has the most cleverly devised choreography.  Now having seen it live, I see with a new perspective how Kylián can take movements that should look (and feel) awkward like bent elbows, turned in legs, flexed feet etc. but give them a musical place and flow that makes them just as graceful as any romantic ballet step.  What’s more, it’s the way in which he manipulates those movements with classical lines that creates a visual feast for the eyes.  What I found most fascinating was his use of symmetry—symmetry down the middle of a single body or mirrored lines that were formed between two dancers.  The symmetry was not just vertical either, but horizontal, on varying angles and crisscrossing that created a kaleidoscopic effect—even if you turned your head just a little bit the shapes would take on a new life.

I was a little nervous for PNB because they started the dance a little jittery tonight.  Towards the beginning of the dance the male dancers pull a gigantic piece of billowing fabric from the back of the stage to the front and when they run to the back of the stage again, it’s as if the smoke clears to reveal a group of female dancers lying on the floor.  Unfortunately, a couple of the dancers were a little late and I could see them hurriedly laying down which may seem like I’m nitpicking a detail, but you have to understand that Petite Mort is Kylián’s spell—which can easily be broken.  In that sense, his choreography is so fragile because timing is paramount.  However, such is the nature of live performance and the whole fabric thing is repeated a second time in the dance and they pulled it off flawlessly.  I enjoyed the rest of the piece immensely and it is so gratifying to have seen it on living, breathing people.  That being said, I think the film version is still excellent, and can’t stress how much you should watch it, like right now:

After Petite Mort came Kylián’s Sechs Tänzes, which is speaking my language…a ballet comedy if you will, and I have to say that I was impressed.  Dancing a lot of Balanchine can make one…I hate to say wooden, but perhaps a little frigid just because of the nature of the Balanchine repertory.  However, PNB assembled a great lineup of comical dancers that delivered a wonderfully lighthearted performance, matching note for note with Mozart’s Six German Dances.  The piece is absolutely ridiculous—in the good way.  From the powdered wigs to the bubbles at the end, the audience was clearly into the humor and of course you know I was.  In many ways I identified with this piece quite a bit on a personal level and feel that it somehow legitimizes my whimsical nature and the way in which I live my life.  So many thanks PNB for your performance of Sechs Tänzes on this fine evening was a real treat.

Now I was on a high after that and Nacho Duato’s Jardí Tancat was a real buzz kill.  I have to be honest in that I didn’t feel that the piece really matched the occasion, if that makes sense.  It’s something I could see being much more interesting to me in a small studio theater, up close in a performance where I expect modern dance but it really sticks out in a ballet company’s repertory.  Apparently it’s a “fan favorite” amongst PNB patrons, which I have a hard time believing…although tonight’s cast was stacked with principals so maybe I’m missing something after all.  As earthy as the residents of this city are though, I’m unable to convince that Jardí Tancat is something people would want to see over and over again. Don’t get me wrong…it was really well danced and the movement quality was there but problems for me ranged from limited use of the stage and just bland choreography.  I don’t know what the logic is behind it, but what I do know is that this proves Seattle is in desperate, and I mean DESPERATE need of Tudor and MacMillan ballets.  It’s not that Tudor or MacMillan ever choreographed anything of the same nature, but I think the level of sophistication they achieved in their works is what Jardí Tancat seeks and for me, fails to achieve.  Duato does have works that I absolutely adore, and he can waltz into the Mikhailovsky and be all “none of you have ever danced” but quite frankly, all I can say is when I win the lottery, I’m donating a huge chunk to PNB’s “Tudor/MacMillan Fund.”  Actually, make that “ATM” for “Ashton/Tudor/MacMillan Fund.”

Meanwhile, the night closed with Jerome Robbins’s Glass Pieces, which thankfully proved to be the highlight of the evening.  It’s a piece that sort of describes an urban hustle to minimalist music by Philip Glass, with dancers dressed in color against a stark, white graph paper backdrop.  It’s divided into three sections, each of which focused on a particular grouping, though there were many bodies on stage.  For example the first, Rubric, points out three different couples who I wish I could name but because I sit far up in the balcony I can’t see too much in terms of facial characteristics so I’ll by the colored unitards they were wearing, which I shall describe as Gold, Sunburn and Spring.  Springman had the biggest jumps but it was Sunburnman who I thought displayed this effortless, effortless, positively effortless technique.  The way he did his grand battements was too easy—it’s like when my friend Magelachachka (and yes, I do call her that to her face) would say at barre: “lifting your leg up takes…so much work.”  I know it’s cliché, but Sunburnman was born to dance because work doesn’t describe him at all.  As three couples they had wonderful interactions aided by Robbins’s extraordinary choreography.  What I love about Robbins’s ballets is that he selects the most appropriate movements and is very reserved when it comes to the big, flashy, bravura steps.  There’s a real sense of contrast and a love for transitional steps that you don’t always see (though this is more apparent in the last section).

The second section focused on a single couple, dressed in scarlet and gray (Go Bucks!), featuring the divine Miss Carla Körbes, who I could recognize.  I’m telling you, this woman moves like a goddess of the clouds.  I lost count of how many times I got chills during her pas de deux with fellow principal Batkhurel Bold, because she has a lyricism that can’t be taught.  Credit must also be given to Bold as well because despite one’s own talents, beautiful dancing in a lift can’t be achieved if you can’t trust the one holding you up.  It’s interesting because the pas de deux is not romantic at all, but they still have chemistry in their partnership.  What’s also interesting is that because it’s not romantic, there has to be a certain intangibility to it while maintaining a lyrical quality.  I think it’s actually quite a complex “role” in that it’s not a role at all but requires a similar sensitivity in the technique.  Miss Körbes is a revelation and as PNB looks to really expand their repertory this season by doing a shockingly small amount of Balanchine and doing a romantic ballet with Giselle, I’m predicting that she will be the superstar Giselle come June 2011.  Although to be fair, I’m pretty sure a lot of people are thinking the same thing…

At any rate, the third section featured the corps de ballet, in a truly kaleidoscopic interpretation of the organized chaos that is a developed infrastructure.  While not explicitly dancing as vehicles or machines, I think systematized, linear movements that gave the feel of advanced technology and economic prosperity achieved the effect.  The end had the dancers turning in all kinds of directions, weaving in and out of each other like clockwork and despite its frenetic appearance it was never haphazard…always meticulously placed to contribute to the bigger picture like the pieces in a mosaic.  I thought it was flawless (minus a mini-spill a dancer in orange tights took…which I only noticed because I have freakish hawk eye vision for uncharacteristic movement.  He actually recovered remarkably well) and despite never being a Philip Glass fan (not a hater, but not a fan) I really came to appreciate his score.  Normally I like a melody, with a beginning, middle and end but his music was symbiotic with the dancing…they were meant for each other.

I had a great time…and did I mention how awesome it is to be seeing live dance again?  I would recommend that you go, but chances are if you’re in Seattle and you read this blog, you go to all of PNB’s shows anyway and if you wait for my reviews you’re giving me more credit than one should give.  There is but one more show in like…eleven hours.  Have fun with that.

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4 Responses to “Pacific Northwest Ballet: ‘Director’s Choice’ Review”

  1. Karena October 4, 2010 at 9:19 am #

    Awwww, thanks for the review dedication 🙂

    At one point I moaned out loud during the Korbes/Bold duet–she was in this big extension a la seconde, lots of strong diagonal lines going on, very angular, and then she just melted and slinked and oozed her way into a wildly curvaceous place. It was so satisfying–I could have watched just that many times over

    You should check out the Men in Dance shows happening this weekend and the next–if past experience holds, they’re usually strong shows with a good variety on them.

    • youdancefunny October 4, 2010 at 6:42 pm #

      She is truly fantastic. How were the Kylián pieces for you?

      Meanwhile, men dance? Kidding…I’ll be sure to check the show out!

      • Karena October 7, 2010 at 7:45 am #

        I was pleasantly surprised by the Kylian–I had been nervous about how well they would do with it. I thought Petite Mort lacked some of the gooiness of Nederlands Dans Theater’s performance (and a couple of the duets made me wonder “they do know what Petite Mort means, right?!”) but even so, they danced pretty well. Plus, it’s just such a fun piece to see live, especially when you know what’s going to happen, and the people around you don’t–lots of gasps and oohs and ahhs. I though Sechs Tanze fit their movement style a bit better–but really, bravo to PNB on both of them.

        Btw, the Men in Dance program differs by a few pieces from the first weekend to the second–and in the first weekend, Peter Boal is performing… (Incorrectly reported as the second weekend in some media sources, apparently.)

      • youdancefunny October 7, 2010 at 6:56 pm #

        Haha, maybe that’s why he’s been doing barre with the adult open class this week…he comes in and I’m like “run away!” Carla Körbes took open class the other day too…I did adagio next to her! Except my legs were like “wa-waaaaah.”

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