Pacific northwest ballet plus#
New!!: Pacific Northwest Ballet and Alastair Macaulay Ī ballet company is a type of dance troupe which performs classical ballet, neoclassical ballet, and/or contemporary ballet in the European tradition, plus managerial and support staff. Alastair MacaulayĪlastair Macaulay is the chief dance critic for the New York Times. Ģ3 relations: Alastair Macaulay, Ballet company, Carla Körbes, Chalnessa Eames, Emil de Cou, Fall for Dance Festival, George Balanchine, HistoryLink, Jacob's Pillow Dance, Maurice Sendak, McCaw Hall, Michele Rushworth, New York City Ballet, New York City Center, Noelani Pantastico, Nutcracker: The Motion Picture, Peter Boal, School of American Ballet, Seattle, Seattle Center, Seattle Opera, The Nutcracker, Twyla Tharp. There was memorable dancing by all of its large cast, including Postlewaite, Leta Biasucci, Dylan Wald and Cecilia Illiesiu, and Dammiel Cruz and Madison Rayn Abeo.Pacific Northwest Ballet (PNB) is a ballet company based in Seattle, Washington. Love and Loss was a good opportunity for the dancers to show both their dancing and acting mettle. I would have completely re-worked “Movement IV,” as it came across as being a bit incongruous with the rest of the piece, appearing like Byrd needed an ending and this was it. I think this would have deepened the ballet even more and would have provided more of a connection for the audience. Clocking in at 55 minutes, it’s not for the faint-hearted, yet I felt Byrd could have gone further (not in length!), but in showing more of a journey of one character, which I thought he was going to do with Lucien Postlewaite’s character of “Movement I” - taking this one character and having him appear/be the thread of each subsequent section, perhaps observing or commenting on the action - somewhat like Wagner’s Wotan. With “atmospheric” music by Emmanuel Witzthum, Byrd had the dancers frequently move in and out through upstage open door openings and use of the wings. Love and Loss I would term a meditation on its theme. Music was performed by Christina Siemens, Michael Jinsoo Lim, Jennifer Caine Provine, Alexander Grimes, and Page Smith. The ballet’s concluding section,” Exhale,” was peppy, showing wit and finishing strongly, with a lone dancer “blowing out” a hanging chandelier, a la birthday candle.
This is one dancer who always exudes confidence, making you feel comfortable watching her execute the technical and artistic challenges thrown her way. “Wait” was an extended solo for the amazing Angelica Generosa. Daring perhaps for PNB’s main stage audience, this section was danced by Leta Biasucci, Amanda Morgan, and Calista Ruat. While great composers and creators often borrow from themselves, I would have liked Stone to have challenged herself not to have borrowed from a work, as I recall, she made for her Stone Dance Collective and the wonderful Chop Shop Festival she founded - a trio of semi-nude female dancers, facing upstage away from the audience, in the section titled “Be Still.” This dance is about the expressiveness of the upper back and the arms, making lovely port de bras and connecting with each other, in the sense of community. Attractive and very pleasant pattern-wise, it looked like a swirl of color and bodies, a rainbow of yummy flavors mixed in rich vanilla ice cream. The first section, “Now,” looked as if it were the result of an improvisation exercise with the dancers, with them showing and repeating gestural motifs that they sometimes shared with others and sometimes not. Each of the five sections opened with one of the cast members verbally announcing its title to the audience and then that section’s dance would begin. As the choreography, concept and casting appeared to be female-centric, I might have ditched the men of the “Hold” and “Exhale” sections as unnecessary and really gone with the boldness of having an all-female work in every sense. I found it awesome that FOIL, the offering by Eva Stone, used music by female composers (I was excited to hear the music of Nadia Boulanger, Elisabeth Jacquet de la Guerre, Francesca Lebrun, Fanny Mendelssohn, and Clara Schumann), providing a lovely superstructure on which to pin the dances.
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