Pacific Northwest Ballet

Altered PNB Image

noreply@blogger.com (Pacific Northwest Ballet) — Mon, 20 May 2013 16:57:00 +0000

We were disappointed to see a modified version of this backstage photo of PNB dancer Chelsea Adomaitis is being shared on Tumblr and Pinterest (the original image photographed by Lindsay Thomas is in color on the left). The black and white image has clearly been Photoshopped to make her waist appear smaller and her foot more arched.

We want to be clear that the photoshopped version of the photo was not made or distributed by PNB. Conversations about the health of all dancers is important, and an issue PNB takes very seriously for our Company and School. We were saddened to see our image altered in a way that may perpetuate unrealistic expectations among young dancers.

Choreographing Andrew Bartee

noreply@blogger.com (Pacific Northwest Ballet) — Mon, 13 May 2013 22:53:00 +0000

“I was always bossy,” says Andrew Bartee, though you’d never know it from his modest, playful persona. The oldest of four kids, he “always had an urge to put something on—plays, variety or talent shows, gymnastic routines.” His first experience of choreographing was in a class at Kirkland’s International School of Ballet, where he “liked telling people what to do.”

Later, in two years of Saturday Pacific Northwest Ballet classes taught by Bruce Wells, the students would all be assigned the same music and given a task: choose three steps, say, and use them across 24 counts. Andrew grins at the recollection. “I learned tricks. I soaked it up.” He finds it interesting now, at the age of 22, on seeing others (Mark Morris. for example) choreographing, “to recognize the devices used, the things to change a phrase to make it more interesting.”

In 2009—while Andrew and fellow-student Margaret (Maggie) Mullin were apprentices at PNB, just prior to being hired on as corps members—they co-created a duet at her suggestion, for a choreographer’s showcase in Tucson where she’s from. Having enjoyed working together, they co-choreographed a piece for PNB’s Next Step in April 2010, and the following year they both did one on their own for the same forum.

[For a short video on their first solo choreographing experiences, go to:
PNB's Next Step-Andrew Bartee and Margaret Mullin - YouTube]

At this point Andrew’s choreographic career took off, though he continues to dance with PNB, Whim W’Him, and occasionally other companies. Olivier Wevers, artistic director of Whim W’Him asked him to do something for last June’s Seattle International Dance Festival. For that, using his PNB friends Ezra Thompson and Sarah Pasch, Andrew choreographed a trio which was the genesis of his piece—now entitled This is real.—that will debut at Whim W’Him’s May show.
[Tickets are now available at: www.BrownPaperTickets.com]

In the fall of 2012, an Andrew duet by and for Kate Wallich and himself at the Velocity season kickoff was well reviewed: “Bartee and Wallich premiered Crash Case, an ultra-deconstructed version of the traditional ballet duet where they seemed to braid their bodies together in partnering sequences and emit a subtle aggression in solo sections. They paused with one fist raised before shuffling sideways and stretching with marvelous elasticity to Lena Simon’s shimmery soundscape. The piece showed a growing maturity in Bartee’s choreography…”

Around the same time, Andrew’s arms that work premiered at Seattle’s McCaw Hall as part of a PNB regular rep program that also included works by Mark Morris, fellow company member Kiyon Gaines, and his old friend and co-creator, Maggie Mullin.

This March, arms that work was danced again by Patricia Barker‘s Grand Rapids Ballet Company. One review called the piece “as astounding today as Arpino’s and Balanchine’s pieces were in their day.” In February of this year, emotions., yet another piece, a solo this time, was choreographed by Andrew—as a mediation on “the varied relationships with one’s self”—and danced by Kate Wallich for Bellevue’s contemporary dance showcase, Chop Shop: Bodies of Work.

And now This is real. Andrew’s first work for Whim W’Him, it investigates awkwardness in relationships, social unease. Evolving over time from a 5-minute sketch which he says “I hated,” it has tripled in length, becoming a more subtle and abstract exploration of “situations between friends that make you a little uncomfortable, that you didn’t see coming.” Seattle composer Lena Simon is writing original music for the piece.

When he enters the studio, Andrew doesn’t have steps worked out, all ready to go. Far from it. They come to him in the course of working. The other day, for example, while warming up before rehearsal, a little sequence of steps involving a lot of elbows & knees occurred to him and became part of what was set on the dancers in the next few hours.

Last week, he was developing vocabulary for the three dancers (Mia Monteabaro,Tory Peil and Sergey Kheylik). Now, he says “It’s nice to have dance material, to play with the story.” When I asked him if his own long, flexible body and the way it moves influences his choreography, he said, “Of course, but it’s always different with each dancer. Each initiates movement from somewhere different. The differences add depth and meaning.”

ABOUT THE AUTHOR VICTORIA FARR BROWN

I am a writer, mostly of fiction, based in Seattle, and a long-time lover of dance.Behind the Scenes focuses on WhimW’Him—Olivier Wever’s dance company, formed in 2009 and now affiliated with Intiman Theatre—its projects, artists, and whatever ideas, whimsical or otherwise, occur to me in the course of watching the company grow.

PHOTO CREDITS

Sepia photo of Andrew by Shane Ohmer; arms that work photo, courtesy of Photos – Chris Clark | chrisclark@mlive.com | MLive.com; last three photos by Molly Mageeof Bamberg Fine Art Photography.

Story Ballets in PNB’s History

noreply@blogger.com (Pacific Northwest Ballet) — Mon, 01 Apr 2013 23:47:00 +0000

“Stories are the bridge between the public and the art form. We can’t get them to watch The FourTemperaments until we get them on that bridge. And I can do those stories in ways that haven’t been done before.” — Kent Stowell in Mindy Aloff’s essay, Balanchine and Beyond, Melbourne International Festival of the Arts Program, October 1995.

PNB Company dancers in Kent Stowell's Swan Lake. Photo © Angela Sterling.

Within a year of the November 1972 incorporation of Pacific Northwest Dance (PNB’s name until 1978), Glynn Ross, general director of Seattle Opera and the new ballet organization, prepared a Plan Outline for Establishing a Major Dance Company for the Pacific Northwest. Shortly thereafter, this Outline was sent by Leon Kalimos, newly appointed executive director of Pacific Northwest Dance, to Kent Stowell, who in 1973 was employed as Ballet Master and Choreographer of Frankfurt Ballet in Germany; Kalimos’ attempts to interest Stowell in a position with PNWD were unsuccessful at that early date, but continued over the next several years.

According to the Pacific Northwest Dance Professional Developmental Program Narrative (an expanded version of the Plan Outline) dated 5 October 1973:

To develop an indigenous resident professional dance company, Pacific Northwest Dance has outlined an over-all program designed to create from the basic resources of the Northwest an artistically excellent, professionally organized, and financially responsible vital member of the American Dance world. It is the expressed intent and goal of Pacific Northwest Dance to see a nationally credible Dance Company realized within a period of 4 years.

Under the leadership of Janet Reed, Ballet Mistress and Director of the School from July 1974-June 1976, and Leon Kalimos, executive director October 1973 through 1977, PNWD took the first steps toward training company dancers and building a repertory.

One of the Company’s first performances (except for brief appearances in dance scenes in Seattle Opera productions) was Pulcinellain spring 1975. Choreographed by Janet Reed for selected dancers and featuring members of the Seattle Symphony Orchestra and Seattle Opera chorus performing the Stravinsky score, this work in a sense represented the Company’s first story ballet. The Company also participated in lecture-demonstrations in local schools in a program called Ballet is a Contact Sport.

Although major steps in the Company’s development occurred with the Lew Christensen Nutcracker (eight sold-out performances in December 1975 and eleven sold-out performances in December 1976), the first repertory season in February, March, and May 1977 under the guidance of Melissa Hayden (Janet Reed’s successor) represented a different level of achievement. Company dancers and guest artists appeared in varied programs that included works by George Balanchine; the season closed with Hayden’s staging of Coppélia—the full-length story ballet that, in various versions, has consistently been a part of the Company’s history from 1977 to the present.

Julie Tobiason in Kent Stowell's Coppélia.

Even before PNWD’s first Coppélia took to the stage, Hayden had requested release from her contract; many of the dancers left the Company at the same time. Leon Kalimos’ persistent contacts with Kent Stowell bore fruit, and Stowell and Francia Russell arrived in Seattle in late summer 1977 to rebuild the Company and the School. After 14 sold-out performances of Nutcracker in December 1977, they mounted their first full season, with mixed repertory performances in February, March, and May, and Coppélia in June 1978. Stowell created his own version of the full-length ballet, using costumes left over from the previous year’s production and new sets by the original designer, Robert O’Hearn.

During the 28 years that Kent Stowell and Francia Russell led PNB, Stowell expanded PNB’s repertory by creating nine story ballets/full-length ballets in addition to Coppélia: Daphnis and Chloe (1979), Swan Lake(1981, and a new production in 2003), the Stowell/Sendak Nutcracker (1983), The Tragedy of Romeo and Juliet (1987), Firebird (1989), Carmina Burana (1993), Cinderella (1994), Silver Lining (1998), and Carmen(2002).

In these works, he endeavored to attract a broader audience by drawing on the appeal of story ballets, and to create his own unique versions of familiar story ballets. In some instances, he choreographed ballets to celebrate major landmarks in the Company’s history. For example, Stowell created both Carmina Burana and Cinderella for the 1993/1994 season, PNB’s first full season in the newly constructed Phelps Center. As he noted: “We have to get everyone’s attention back on what this building is all about: putting art on stage.” He created Silver Lining for the entire company to mark the culmination of the 25^th Anniversary Season; Carmen to attract audiences to the less than desirable auditorium of the Mercer Arena, home to the Company during the renovations to the Opera House; and a newly designed production of Swan Lake for the opening of McCaw Hall.

Kaori Nakamura with Company dancers in Peter Boal's world premiere staging of Giselle.
Photo © Angela Sterling.

Under Peter Boal’s direction (beginning with the 2005/2006 season), Pacific Northwest Ballet continues to expand the repertory by presenting its own versions of full-length classics.

With the Balanchine/Danilova Coppélia, which premiered in June 2010, PNB for the second time undertook a total redesign of a Balanchine story ballet (the first being the 1997 production of Balanchine’s A Midsummer Night’s Dream with scenic and costume designs by Martin Pakledinaz). Roberta Guidi di Bagno, who also had designed Ronald Hynd’s production of The Merry Widow(performed by PNB in September-October 2002 and March 2005), created scenic and costume designs for PNB’s new Coppélia.

June 2011 witnessed the historic premiere of PNB’s Giselle, staged by Peter Boal with the assistance of dance historians Doug Fullington and Marian Smith and based on primary musical and dance notation sources from Paris and St. Petersburg that had been unknown to or neglected by other major companies.

PNB also has continued to acquire other choreographers’ updated versions of the classic story ballets. In February 2001, under Stowell and Russell’s direction, PNB dancers triumphed in Ronald Hynd’s production of The Sleeping Beauty, thus rounding out the trio of spectacular Tchaikovsky ballets that started with Nutcracker and Swan Lake. In January 2008, PNB became the first American company to perform Jean-Christophe Maillot’s Roméo et Juliette, a work whose freshness and exquisitely stark design enthralled Boal when he first saw it in 1997. And most recently, in February 2012, PNB presented the American premiere of Alexei Ratmansky’s 2010 version of Don Quixote.—Sheila Dietrich, PNB Archivist

Concerto Barocco Retrospective

noreply@blogger.com (Pacific Northwest Ballet) — Thu, 14 Mar 2013 20:51:00 +0000

Marie Jeanne & William Dollar-original cast
(photo by George Platt Lynes, from NYCB 1957 souvenir program)

Frank Hobi, NYCB. (Walter Owen photo)

Janet Reed & Frank Hobi, NYCB (Walter Owen photo, c. 1949)

Diana Adams & Tanaquil LeClercq (Roger Wood photo, London; NYCB, 1952).

Diana Adams & Tanaquil LeClercq (Roger Wood photo, London; NYCB, 1952)

Steven Majewicz with PNB dancers (William Duncan photo, 1976)

Leslie Peck & Daniel Schwarz (William Duncan photo, 1978)

Alaina Albertson (David Cooper photo, 1983)

DeDe Crane & Vivian Little, PNWD/PNB (William Duncan photo, 1976/77)

Deborah Hadley (Jim Cummins photo, 1980)

Angela Sterling & Linnette Hitchin (Ben Kerns photo, 1992/93)

Patricia Barker, Phillip Otto (David Cooper photo, 1993)

Phillip Otto & Anne Derieux (David Cooper photo, c. 1995)

Louise Nadeau & Charles Newton (Angela Sterling photo, 2000)

Kaori Nakamura & Company dancers (Angela Sterling photo, 2000)

Melanie Skinner (Angela Sterling photo, 2002)

Lindsi Dec & Stacy Lowenberg (Angela Sterling, 2002)

Kaori Nakamura & Company dancers (Angela Sterling photo, 2002)

Louise Nadeau & Charles Newton (Angela Sterling photo, 2000)

Francia Russell & Company dancers (Angela Sterling photo)

Patricia Barker & Stanko Milov (Angela Sterling photo, 2005)

Company dancers (Angela Sterling photo, 2005)

Carrie Imler & Patricia Barker (Angela Sterling photo, 2005)

Laura Gilbreath & Lindsi Dec with Company dancers (Lindsay Thomas photo, 2013)

Lindsi Dec & Laura Gilbreath (Lindsay Thomas photo, 2013)

Lindsi Dec (Lindsay Thomas photo, 2013)

Creating & Coaching: A peek behind the scenes with Paul Gibson

noreply@blogger.com (Pacific Northwest Ballet) — Tue, 12 Mar 2013 22:08:00 +0000

by Sarah Ricard Orza

Paul Gibson rehearsing Company dancers.
Photo © Lindsay Thomas.

When Kent Stowell and Francia Russell offered principal dancer Paul Gibson the position of Assistant Ballet Master during their last year as artistic directors of Pacific Northwest Ballet, Paul’s answer was a no-brainer. A self-motivator and perfectionist from a young age, he was well aware that a ballet master position in a company such as PNB does not come along frequently. He leapt at the chance to transition.

The role of ballet master is perhaps one of the most under-appreciated in the dance world. Dancers receive the majority of credit and recognition—we are rewarded by the audience, fans, and (sometimes!) critics. Artistic directors are at the forefront of the company, receiving additional praise, credit, and status. But insiders (especially dancers) know the value and importance of a great ballet master. And Paul is just that. His motto for rehearsal is, “Go in, get it done, and enjoy yourself.” He adds, “We are not there to be silly; we are there to work. Otherwise, it’s a waste of everyone’s time and energy.” Dancers appreciate this “get ‘er done” attitude. When a balletmaster or stager comes into the studio under-prepared, a dancer is often forced to spend valuable time teaching themselves counts and steps from the recording of an old performance. This bothers Paul: “When watching and learning from a performance tape, you never know if the performance was correct.” Paul goes into every rehearsal knowing at least 95% of the choreography. “You need to go in and know your stuff—be fast and efficient.” He also has learned to adapt his coaching style to the needs of different dancers. “For example, Jonathan Porretta hears the music—I was the same way. But you still need to give the dancers counts as a base.” And in the rare case a dancer asks a question he does not know the answer to, Paul will defer to a tape.

Once Paul knows a dancer and his or her personality, he will approach rehearsals with them differently, as an individual.“You come to know their strengths and weaknesses. Some you can push to the brink. Some will shut down if pushed too far. You also need to be patient with dancers who are having trouble. Sometimes it’s hard for dancers to understand that I am commenting and correcting the rehearsal, not them personally. It’s just part of their job. Dancers may not like what they hear, but it’s always for their benefit.”

Paul began his early dance training at the age of ten with the Allegheny Ballet in Altoona, Pennsylvania. His parents had put him into everything—dance, gymnastics, baseball; he was even champion in his bowling league two years in a row. It was dance that stuck. After graduating high school early, Paul attended summer courses at the School of American Ballet and San Francisco Ballet School, before settling into SFB for the winter term on a full scholarship. After two years in the school, SFB’s artistic director Helgi Tomasson, offered Paul an apprenticeship with the company, and a short three weeks later he was hired into the corps. After five years dancing with SFB, having been promoted to soloist, Paul decided to make the move to Pacific Northwest Ballet, where he spent ten years as a dancer (eight of those as a principal dancer).

Paul possesses a rare combination of traits as a ballet master; he manages to balance being a friend and ally to the dancers while maintaining a no-nonsense, taskmaster approach in rehearsals. This delicate balance has taken careful crafting over the years. In his early days, he struggled to find authority in his new role among his former peers. Now, for the most part, Paul finds dancers to be extremely disciplined — more so than your average young adult. “From a young age, you are on a track. Dancers’ attitudes are extremely mature and disciplined.”

Paul is premiering his fifth work for PNB, Mozart Pieces, on the MODERN MASTERPIECES program. Paul begins his choreographic process by finding great music that he himself would like to dance to and that he feels might inspire others as well. For the most part, he doesn’t worry about making a great piece. He just tries to challenge the dancers, make them look good, and ultimately, make them better dancers. The most difficult part for him is working within the limited time constraints of a ballet company. “It always feels like I need more time to coach my dancers or work with a second cast.”

For Paul, the greatest reward is seeing these ballets take shape and watching dancers improve from rehearsal to performance: “I love watching a dancer achieve more than maybe even they thought they were capable of.”

Opening Night View from the Audience - Sarah Ricard Orza

noreply@blogger.com (Pacific Northwest Ballet) — Thu, 14 Feb 2013 23:47:00 +0000

Pacific Northwest Ballet:

Opening Night in New York City

Sarah Orza

My husband Seth Orza and I are expecting our first child, a baby girl, in May. So, on Wednesday night, as PNB returned to New York’s City Center for the first time since 1996, I had the opportunity to watch my colleague’s accomplishments--as an audience member. Six months pregnant, I came along on this tour to support my friends, rather than perform with them.

Before moving to Seattle to join PNB with Seth, we lived in New York City for 10 years, dancing for the New York City Ballet. Wednesday evening I ran into quite a few old friends and acquaintances in the City Center audience. I was frequently asked “Is it hard for you to just sit and watch, and not dance?” Quite simply, my answer is no. Perhaps it’s the fact that I am “sidelined” due to something that I am completely over the moon about, rather than an injury. Or that I know I’ll be performing again before I know it. But mostly, I truly relish the opportunity to sit back and take in the sublime artistry my PNB colleagues possess and soak up their honest joy and enthusiasm for our art.

The all Balanchine program opened with Concerto Barocco. This work was originally created on students at the School of American Ballet in 1941. Fittingly, New York City Ballet premiered it at City Center years later, in 1948. To me, this ballet is a study in technique, musicality and pared down elegance. Additionally, it is an endurance marathon; especially for the corp, as they never leave the stage once during the ballet. Needless to say it is best to make sure your ribbons are well secured and your bun is pinned tightly before curtain goes up! PNB’s young corp was precise and musical—they all seemed to feed off the energy that is created when dancing such a special ballet. The two female leads were both premieres. Soloists Laura Gilbreath and Lindsi Dec performed the First and Second violins, respectively. These two beauties both have legs that go on for days. I have never seen such tall woman perform these difficult roles and I had imagined that the fast footwork and quick jumps might be a challenge for their long frames. However, they both had complete control over their bodies and the choreography. Laura’s exquisite line lended itself especially well in the slow adagio of the second movement, while Lindsi managed her own quick jumping sections brilliantly. Bravo to the entire cast!

Laura Gilbreath and Batkhurel Bold

Second on the program was Balanchine’s iconic Apollo. (Disclaimer; my husband was dancing the title role.) Choreographed on dancers of the Ballets Russes and premiering in 1928, this ballet is in my opinion, one of Balanchine’s finest. Balanchine was noted for saying “Ballet is woman”, so the fact that this ballet is ultimately a gift to the male dancer at its core, is a reflection of the honor it is to dance the role. I know that Seth felt a lot of pressure about debuting the role in New York—the New York City audience knows its stuff and has seen and revered several great Apollos over the years, including PNB’s Artistic Director, Peter Boal. As a dancer, a big challenge when dancing a role is to find a way to make it your own, though you often feel pressure to “fill the shoes” so to speak, of those who have gone before you. Seth felt that his recent debut in Jean-Christophe Maillot’s Roméo et Juliette, and the work he had to do to delve into Romeo’s boyish nature, lended itself well to his Apollo. Apollo’s three muses, Calliope, Polyhymnia, and Terpsichore where danced by Maria Chapman, Lesley Rausch, and Carla Körbes. Carla has been dancing Terpsichore since she was 14. I know that this particular show meant a lot to her, as her entire family was in the audience, all the way from Brazil. Apollo was well received by the audience last night, and the entire cast should be very proud of their work, and the quiet, effortless beauty they all brought to the stage.

Seth Orza, Carla Korbes, Lesley Rausch, Maria Chapman

Closing the program was Balanchine’s ultimate neo-classical masterpiece, Agon. Another work that showcases the male dancer as well as the female, Agon highlighted some of the wonderful talent currently on PNB’s male roster. Jonathan Porretta has a great mastery of the Balanchine style—his precision and lightning fast movement always surprises and delights me. Andrew Bartee, a young corp member demonstrated considerable skill as well, he seems so well suited for the neo-classical style required for this work. Kylee Kitchens always looks so at home performing Balanchine—I couldn’t take my eyes off her whenever she was onstage.

Elizabeth Murphy and Kylee Kitchens

The ballet culminates with a sensuous pas de deux, which was danced by Lesley Rausch and Batkurhel Bold. Lesley excels in roles such as this. Her facility and demeanor suit the simultaneously angular and lush movement required to execute the choreography well. I thought the pas was absolutely stunning. As company members took their final bows for Agon, my seatmate, an old friend from NYCB, noted that the corp was taking a bow. At City Ballet they do not. I’m so glad my PNB friends could take their well-deserved bow, because from corp member, to soloist to principal dancer, each and every artist on that City Center stage danced from the heart and shared a bit of their soul with us. And this audience member greatly admires, respects, and thanks them for it!

Audition Tips from PNB's Apprentices

noreply@blogger.com (Pacific Northwest Ballet) — Thu, 17 Jan 2013 18:41:00 +0000

Here at PNB, we know that aspiring young dancers across the country are already auditioning for summer courses and hoping to get in to their top choice. So, we thought we'd ask our two new apprentices, Elle Macy and Jahna Frantziskonis, for some advice on how to make the most of your summer course audition experience. PNB's nation-wide Summer Course Audition Tour is happening now!

Jahna Frantziskonis, PNB Apprentice.
Photo by Lindsay Thomas.

What do you do to prepare before an audition class?

Elle: In order to feel good the day of an audition, I need to feel good the week leading up to it so I really buckle down. Meaning, I like to throw in some extra cross training, eat my best balanced diet, and really focus in on my technique and artistry. The day of the audition, I like to allow extra time to stretch and listen to music (aka get in the zone). Also, it is very important for me to have a good, and light, breakfast that is sustaining but not too indulgent.

Jahna: I always get plenty of rest the night before an audition. I eat a good, big breakfast with plenty of time to digest. There is usually a lot of waiting time before an audition starts so, to keep warm, I put on warm ups over my ballet clothes and it helps a lot. I find a nice quiet corner to stretch, but make sure not to over stretch. The last thing you want is to pull a muscle right before the audition starts, so I make sure I am completely warm before doing any big stretches.

What should a dancer wear to the audition?

Elle: I always wear a leotard that I am very comfortable in. Comfort takes away the pressure. I am not into anything flashy for an audition because, in my head, I figure my dancing should do that, not what I am wearing. That is not to say that you shouldn’t be put together. I was once told that "you should put yourself together for ballet the same way you would if you were going out on the town." So, I always keep that in mind!

Jahna: Make sure you check the website of the school conducting the audition because sometimes they have certain dress requirements. If they allow you to wear a colored leotard make sure it is something worn in and you know you are comfortable in it. You don't want to wear a brand new leotard, have it not fit you well, and be fidgeting with it the whole class. I would wear a solid color and something that is modest but will still make you stand out in a positive way.

What do you do to stay focused when you are stressed or having a bad day?

Elle: Music is a huge outlet for me. I can get lost in my favorite song, or artist, and all of my negative energy goes away. If I have time, going to the gym works too. I can exercise my way out of a bad mood and start to view things much more clearly. It also helps to talk to the people who support me the most—my family, friends, and mentors. They are always on my side and know me well enough to pick me up. The best way to cope with stress is to find an outlet all your own!

Jahna: I always have to remember to breathe. Deep breathing and meditation helps me a lot especially when I am stressed. It is easier to stay focused when your mind is not racing with a million thoughts. A nice cup of tea always relaxes me. And, on a bad day, I always listen to my favorite music.

What is the best piece of advice you were given as a student?

Elle: I was raised with the belief that I could do anything, as long as I put the time and energy toward that goal. More recently, my dad told me about the book Outliers by Malcom Gladwell, where he explains his ten thousand hours rule. Meaning, that once a person has devoted ten thousand hours of their life to something, they should make it their life, they are a professional at that thing. Why not make it your purpose?

Jahna:I was told once to tap into what makes you unique and hold on to that. It was something that always stuck with me, especially during audition season. It is very intimidating when students are coming in from many different schools and the training can be completely different. I'd say just go into your audition with confidence and stay true to your own unique set of skills and abilities

Elle Macy, PNB apprentice.
Photo by Lindsay Thomas.

DO:

Be confident. Make it apparent to your observers that you are their best choice.

Be sharp when it comes to picking up the combinations. Your mind should be working just as hard as your muscles.

Be put together. Have your pictures and resume ready, hair and make-up done nicely, wear your nicest leotard and tights, and have nice posture and be fully engaged throughout class.

Arrive early(even earlier than you think you need to). Leave plenty of time in case something goes wrong (forgotten shoes, early registration, a wrong turn, etc.)

Triple check your dance bag. Start at your feet and work upwards making a list of all the things you need. Plus, check the school’s website for any special requirements and make sure you have the correct pictures.

Bring a healthy snack and plenty of water. Bring a snack that provides good quick energy and lots of water. Auditions are stressful and sometimes you start to sweat before they even start! J

DON’T
Socialize in class. It is distracting to the teacher, and you wouldn't want to miss a correction or even your turn to dance! You want to act as professional as possible throughout the audition.

Don't be overly pushy. Everybody wants to be seen, so don't make it harder than it already is.

Don't stop in the middle of a combination. It is more impressive for the instructor to see you push through something difficult rather than give up.

Don’t have holes in your tights or leotard. You want to look professional and put together.

Over accessorize. Simple earrings are the best. Too much jewelry or hair accessories can be distracting and look messy. Simplicity is beautiful!

All Premiere Insights: Andrew Bartee on Choreographing

noreply@blogger.com (Pacific Northwest Ballet) — Fri, 12 Oct 2012 22:44:00 +0000

Choreographer & Company dancer Andrew Bartee.
Photo by Lindsay Thomas.

My Creative Process
I recently had the realization that I have been working on my piece for ALL PREMIERE for almost a year. I wish that I had realized sooner what a luxury that amount of time was. Not that I misused the time I had, but as opening night draws nearer I'm caring even more about developing the concept of the work. I want to keep pushing it. During this process I learned a lot about myself, how I think and create, what kind of dance I like, what’s important to me about dance and art, and life. And now I feel like there is so much more to explore.

My InspirationI think the first inspiration for my work is my desire to move. Dancing is my whole reason for being, and it’s really the only thing I want to do right now in my life. I want to dance a lot, all the time, for as long as I can. Creating dance and movement is an outlet for that desire to move. The specifics of each piece depend on where I am at in my life. But my need to dance never goes away.

On Collaboration
I am really excited to have had the opportunity to work with Barret Anspach on this project. He is Julilard grad, the brother of Jessika Anspach, and a great composer. I only knew a little bit about him when I started looking at his music. He had this really cool website that made it wonderfully easy for me to stalk him for a while, until we made official introductions through Jessika.

I had originally asked him to make some music I could use for a Next Step piece, but then Peter asked me to create something for the Company and so our project morphed into something more complex.

There weren’t many challenges inside the collaboration because I wanted to give Barret a lot of freedom so that he could also make something that he was really proud of. We talked a lot in the beginning about my intentions for the piece, and what kind of feelings and moods I wanted to evoke. I really love what he has written for arms that work. I think the music sets the scene perfectly.

Challenges
My most daunting challenge was teaching movement to the dancers. Though they are super quick, sometimes their understanding of the movement is not true. Every rehearsal requires me to focus very intensely, and find new ways to explain what is happening in my body when it moves. Each dancer has their own internal rhythm, and getting them to synch with mine is a challenge. But everyone was super open to hearing my ideas. I so appreciate everyone's openness to try some really weird stuff.

Next for Me
Choreography has begun to take a place in my life, and that is something that I am very excited about. I just had a premieres at the Seattle International Dance Festival, and Velocity's Fall Kick Off. I am working on a piece for Chop Shop in February, the Next Step show on PNB School students in the spring, and I actually have a few other choreo gigs on the horizon. This is a year of creation for me.

Corps de ballet dancer Emma Love Shares Her Favorite Fall Foods

noreply@blogger.com (Pacific Northwest Ballet) — Tue, 09 Oct 2012 18:09:00 +0000

From brussels sprouts to sweet potato chili, Corps de ballet dancer Emma Love makes her favorites from scratch

I'm almost always excited to cook at the end of the rehearsal day -- it's almost relaxing. I'm always on the search for new, exciting recipes, and only repeated a few of them twice (my absolute favorites, of course).

Two of my favorite fall ingredients are sweet potatoes and brussels sprouts. I know what you're thinking -- brussels sprouts? But listen -- throw them in the oven with some olive oil. Their tastiness cannot be done justice with words. Trust me. Back to the point though, I can't tell you how lucky I felt when I came across this one, seeing as it combines BOTH of this wonderful "tasties." With some apples and bacon in there, this recipe actually tastes like fall. One of my favorite things I've made yet.

If you're looking for recipes with either of these delicious ingredients individually, these are some other favorites! I love this recipe for vegan quinoa and sweet potato chili.

For another good brussels sprouts dish, try pesto pasta with chicken sausage and roasted brussels sprouts. (I like to make a fresh batch of pesto and keep it around for all sorts of things.)

These are three recipes that I don't mind repeating over and over again. Yum!

All Premiere Insights: Margaret Mullin, Lost in Light choreographer

noreply@blogger.com (Pacific Northwest Ballet) — Mon, 08 Oct 2012 19:43:00 +0000

Let’s talk a little about your creative process. What is the impetus for this work?

Margaret Mullin. Photo by Rex Tranter.

My inspiration for this piece is the recent passing of a family friend. It started as a story ballet of sorts, with a clear narrative element. As I choreographed it became a healing process — my own personal way of putting beauty back into the world after seeing such suffering. His passing is central to my work and that’s reflected in the title of the ballet; it’s really about being lost in the light he created — a tribute to the good that someone left behind.

Tell us a little about the artists you are collaborating with — your costume designer and composer.

[Costume Designer] Alexis Mondragon is actually my best friend. We've known each other since we were 11. We met when we both played Clara for Ballet Arizona when we were young. She’s also a very talented dancer, but her primary passion is fashion design. She went on to study at the School of the Art Institute in Chicago, receiving the Nick Cave Award. It’s great because she knows about dance and how to costume for movement, plus her designs are just beautiful. I’m very excited to work with her.

[Composer] Dan Coleman and I met through a mutual friend. I was telling my friend about my piece, and she recommended I connect with Dan and gave me his number. We talked over the phone and I just knew I wanted to work with him. What we've done is take three of his pre-existing, unrelated compositions and combined them into one master piece. His music is very moving and I'm honored to have his score for my ballet.

What has been your biggest challenge with this piece so far?

My biggest challenge has been using a new musical composition. Some parts of the pre-existing music had been recorded during concerts and I was able to choreograph to those recordings. However, once I had used that up, I had to go on without music while I waited for the rest of the score to be completed. Now that the composition is finished I'm working on pairing down some of the moment and refining the transitions between the three sections.

Are there choreographers you particularly respect or find inspiring?

I've really been feeling that this work is an homage to Antony Tudor, so that's been my focus. He's such an emotional choreographer; his work has such sensitivity to it, without always needing or using a strong narrative. I did my first Tudor ballet when I was still in high school. It's the most graceful I've ever felt as a dancer. I sometimes feel that Tudor's choreographic language has been lost in recent years and for me this is one opportunity to bring it back. His aesthetic holds a large dose of humanity, which is tremendously important to me as a choreographer, and is a reminder of how glorious it can be to be a ballet dancer. I hope my work will allow the dancers in my own ballet to feel their most beautiful, as Mr. Tudor's work did for me. I decided against the Marco & Victor bit because I don't want to risk sounding insulting to them.

How do you see yourself as a choreographer?

PNB does works by the greatest choreographers in the world. To have my work presented on this scale at the age of 23, being asked to create a ballet for the Company at this stage in my career, was completely unexpected. It's pushing me to really think of myself as a dancer and choreographer sooner than I thought. I always thought, "I would really love to choreograph one day"...and one day came really soon!

What are your goals for this piece and then what's next for you?

I'd be happy to take on most choreographic projects that come my way. I'm really driven based on the dancers I'm working with — hungry dancers that want to grow artistically. That's why I enjoyed choreographing for the PNB students so much in previous years. I want this piece to highlight human connection and to celebrate the elegance of this wonderful ballet company. My main goal, however, is for this to be a great experience for all the hard-working people involved and to use the opportunity myself to grow as an artist and choreographer. I want to provide a beautiful vehicle for my fellow dancers that will showcase their talents and grace. I also hope that the audience will feel uplifted. I needed grace in my life — that's really what this piece is about.

A sketch of Margaret's costumes for Lost in Light.
Sketches by Alexis Mondragon.

Alexis Mondragón bio:

Alexis Mondragón grew up in Tucson, AZ. Due to her ballet background, she was surrounded by the arts. While training for a career in ballet, she had the opportunity to design costumes for Tucson Regional Ballet and Urban Ballet Theater in New York City. It was from that experience that she decided to pursue a career in design. She then attended The School of the Art Institute of Chicago, where she earned a Bachelor of Fine Arts in fashion design and construction in 2010. Upon graduating, Ms. Mondragón received the Nick Cave Award and a fellowship with The School of the Art Institute of Chicago to work on another collection for the school's fashion show in May 2011. She now resides in New York City, where she works in the fashion industry and freelances as a designer.

Say hello to PNB's corps de ballet dancer: Charles McCall

noreply@blogger.com (Pacific Northwest Ballet) — Mon, 10 Sep 2012 17:48:00 +0000

PNB's corps de ballet dancer Charles McCall. Photo © Angela Sterling.

1. When did you start dancing? I started dancing just after I turned 9.

2. Why ballet? The reason I chose Pacific Northwest Ballet is because I want to be able to do all kinds of dance, ballet certainly, but also modern and contemporary, and PNB has a nice mix. I love all movement and I am attracted to ballet more so because my parents are classical musicians, and focusing on a more classical style of dance is my way of honoring their choice in career.

Honestly I started ballet with the sole purpose of getting better technique for my other dance styles -- modern, jazz, and tap -- but when I was 11 I took my first men's class and discovered how challenging and exciting ballet can be, and I started moving it more and more into the center of my focus.

3. Who/what inspires you? A lot of things inspire me. Poetry, music, nature, dance... In some ways a better question would be what doesn't inspire me, given the right time and mindset.

A big inspiration for me right now is my older brother, Andrew. He swam through college and when he was swimming that became his whole life. He ate for swimming, he planned for swimming, he worked out for hours so he could swim faster. I think about him a lot and his dedication to swimming inspires me in my dedication to dance.

4. What ballet are you looking forward to season? Well honestly the season is so exciting I'm not entirely sure. I am really excited to go on tour with the company, first with Diamonds and then later with Romeo et Juliette, but our season here is almost as exciting. If I had to pick one I would say Concerto Barocco. Even though I won't be in it I am really excited to see it. I learned it when I was 14, and it will always have a special place in my heart.

5. What has been most challenging about joining the Company? Probably finding a barre spot for company class.

6. What has been most rewarding about joining the Company? Getting out onstage almost every rep. As a student I didn't get nearly as many performances, and it's so great to get them.

7. Favorite snack: I don't have one. It all depends on what's in my fridge.

8. Favorite Seattle restaurant: The Athina Grill. It's a small Greek place practically right around the corner from me.

Charles McCall in the 2011 School performance. © Rex Tranter.

9. What are you reading now? Bullfinch's Mythology. I have always been a big fan of sci-fi/fantasy books and I am really interested in where all the creatures come from and how the authors change them into what are now commonly known. So I go back and read the myths and legends from which they came, when I have the time and, more importantly, the books to do so.

10. What is Seattle's best secret? I haven't discovered it yet!

11. What did you do this summer? I spent a lot of it here, working with Kiyon Gaines and Mark Morris on their new works, as well as spending time with my little brother who took the PNB summer course and lived with me for the duration. Other than that I spent time traveling the country a bit, seeing family and friends from the West Coast to the east.

12. Where do you hope to be 20 years from now? Hopefully ending or just having ended a glorious career as a principal dancer.

13. How do you prepare for a show each night? It's different every time. I generally eat beforehand, something light to keep me up and running, and head over to the theater. At the theater my routine varies depending on how active my role is in the ballet. Sometimes I just put on my costume and makeup, head up to the stage and sit talking to people, while other times I do some barre to get my legs moving before I head onstage.

Getting to know PNB's corps de ballet dancer: Angelica Generosa

noreply@blogger.com (Pacific Northwest Ballet) — Thu, 30 Aug 2012 17:54:00 +0000

PNB's corps de ballet dancer Angelica Generosa. Photo © Angela Sterling.

1. When did you start dancing? I started dancing at the age of 4.

2. Why ballet? When I started dancing, I did all types of dance from modern, lyrical, jazz, tap, and ballet. But from all of them I enjoyed and loved ballet the most, so at 12 years old I knew I wanted to be a professional ballerina.

3. Who/what inspires you? People who are disciplined and truly dedicated to what they love to do. I have a lot of respect for people like that. It inspires me to work harder and push more, and to never give up on any goal in life.

4. What ballet are you looking forward to season? I'm excited to see and hopefully work with Christopher Wheeldon and his new ballet he is creating for us.

5. What has been most challenging about joining the Company? I thought the long days of rehearsals and adjusting to the schedule was a challenge when I first joined. I wasn't used to that.

6. What has been most rewarding about joining the Company? The most rewarding thing about joining the Company was getting the opportunity to perform great well-known ballets. Also, the appreciation coming from the audience after every show.

7. Favorite snack: My favorite snack is definitely trail mix. I can eat that all day :)

8. Favorite Seattle restaurant: I feel like I haven't been to a lot of restaurants in Seattle so I don't have that many options to choose my favorite, but I think Blue Moon Burger is one of my favorites. They have the most interesting and delicious burgers, and amazing milkshakes!

Angelica Generosa in Don Quixote. Choreography by Alexei Ratmansky.
Photo © Angela Sterling.

9. What are you reading now? I'm planning on getting the third book of The Girl with the Dragon Tattoo trilogy, The Girl who Kicked the Hornet's Nest.

10. What is Seattle's best secret? Compared to the East Coast, which is where I'm from, Seattle's best secret is definitely the clean air and authentic stores and restaurants.

11. What did you do this summer? This summer I spent my vacation in Virginia Beach with my family. It was a lot of fun, and I had a great time bonding with my family.

12. Where do you hope to be 20 years from now? In 20 years from now, I want to be happy and content with where I am and what I'm doing in life. Also, I would love to travel around the world exploring exotic and beautiful scenic places.

13. How do you prepare for a show each night? Before a show, I try to take a nap if I have time so I won't be so tired for the show. Also, taking a nap refreshes me and gives me a boost of energy :)

Arrivederci, Truffles & Aran Bell

noreply@blogger.com (Pacific Northwest Ballet) — Mon, 09 Jul 2012 16:55:00 +0000

View from the truffle lunch.

Today, our last day in Spoleto, the touring company was invited to a truffle tasting lunch at the Albornozian Castle that sits above the city. When we got to the castle we realized that most of us were severely under dressed. We were told that the event was casual, but the Italians at the party were wearing suits and gowns (which i don't know how they wear that in 90 degree weather). Needless to say, I felt a little out of place in my shorts. Hors d'oeuvres were served in the castle's inner courtyard under a beautiful white tent and all the appetizers made use of black truffle. I ended up leaving the event early to grab some more substantial food, as well as pick up some water and Gatorade and get some rest.

Class was led by Peter, and it was excellent, barring the touchy CD player that skipped with almost every step we took. We had two guests in class... One from La Scala and the young Aran Bell, who is fearured in the documentary, "First Position." Our last show went really well, which made it feel even more bittersweet to be leaving these wonderful and gracious Italian audiences.

After the show we headed to a restaurant that James Moore had been to the previous night and had booked out for the whole company following our final show. The food was delicious once again and the staff was so welcoming and friendly. It was a perfect way to end our time in Spoleto.

Last night dinner in Spoleto.

Tomorrow most of us go our separate ways to experience our week off in various European locations. Personally, I'm headed to Capri and Rome... I'm so excited!!! Hopefully, I won't be too jet lagged/out of shape when Mark Morris begins rehearsals in Seattle on the 16th.

Thank you for following us on our journey to Spoleto. It was an experience we will never forget!

--Benjamin Griffiths

Peter Boal Arrives in Spoleto

noreply@blogger.com (Pacific Northwest Ballet) — Mon, 09 Jul 2012 16:45:00 +0000

Our touring party arrived in Spoleto yesterday afeternoon from Rome and the Boals drove in from Florence. All assembled in the garden court of the Cavaliere Palace hotel for a welcome reception with piles of delicious local eats and plenty of cold drinks. What a group we are with 21 in our touring party and 24 guests composed of four wives, three husbands, four boyfriends, one girlfriend, one fiance, two mothers and three children (mine, I also claim one of the wives), and five trustees. We also have one special guest, who was not originally supposed to be a part of this lucky group and that's ballet master Paul Gibson. The dancers each pitched in to purchase Paul a ticket to Italy where he's never been.

Everyone seems to have someone and the group is already bonded by the experience. After I said a few words at our welcome reception I thanked James and Sherry Raisbeck for leading the sposorship for our 40th anniversary tour and James took the moment to speak in his usual frank and endearing manner. James noted that we are all family because of the indescribable experience of touring.

Later that evening as Kelly and I strolled the steep walkways of this pre-Roman town we passed another strolling couple looking very much in love as well. It was Elaine and David taking it all in with true wonder and appreciation.

Today a breakfast that was more than I needed preceded our first company class in the attic studio of the Teatro Nuovo. As the dancers creaked through the first plies, Boyd Bender set up his therapy table and started popping ankles and stretching backs. I suspect the hills were more to blame than the plies. An hour later all were well warmed up and moving with their usual grace. How exciting it will be to see our dancers take the stage of the Teatro Romano on Friday night taking their place in this historic Festival alongside, names like Pavarotti, Nureyev, and Baryshnikov. But first an afternoon of sightseeing for almost everyone in Assissi. The Boals chose a well earned siesta instead. Vacations can be tiring.

--Artistic Director Peter Boal

Peter Boal teaching class onstage at the Spoleto Festival. Photo (c) Jesson Mata.

Opening Night!

noreply@blogger.com (Pacific Northwest Ballet) — Sat, 07 Jul 2012 15:08:00 +0000

Today was the first day that I was able to sleep in! I didn't wake up until my alarm went off at 9:30. After breakfast, Jonathan, Kiyon, and I ventured to the laundromat with our significant others. The laundromat was easy to figure out, and we met a lot of colorful Italians while waiting for our laundry to finish, who all seemed dismayed when we couldn't respond in Italian (especially Jonathan and Jordan with their Italian looks). Once the laundry was done, we grabbed some pizza for lunch and then all returned to the hotel for a pre-show nap.

At 5:30 I met Kiyon and Jonathan to walk up to the theater. Class was held onstage and led by Le Yin. After class, everyone was busy preparing for the show and discussing how much stage make up would be appropriate considering that the audience is very close.

While warming up before the show, it was apparent that nerves were high after the difficulties of last night's rehearsal, but once we were out there those nerves seemed to melt away. Opus went really well and was a lot of fun! Sarah danced really well in Opus, but I could tell that she was nervous about getting through Sinatra, and I was nervous that we weren't prepared to perform it having missed dress rehearsal. However, it was clear that the audience was loving Sinatra from their reaction at the beginning of the first duet, and that helped to energize us. When Sarah and I went out for "Domani" the audience cheered, clearly showing their appreciation of the song's Italian title. The duet was not perfect, but went really well considering the circumstances!

All in all, opening night in Spoleto seemed like a success. After the show, Alessandra Ferri came back stage to congratulate us on the show before we all departed for dinner. Hopefully the shows will continue to become better and feel more relaxed as the weekend goes on.

--Benjamin Griffiths

Countdown to Opening

noreply@blogger.com (Pacific Northwest Ballet) — Fri, 06 Jul 2012 16:03:00 +0000

My third day in Spoleto had a lazy start, as company class did not start until 2:00. I wanted to make sure that my body was rested before the day's rehearsals after all the walking we did yesterday in Assisi. At 1:15 the dancers gathered to make the trek up to Teatro Nuovo once again. Once there, we had a great class led by Elaine Bauer to get us ready for rehearsal.

At the beginning of rehearsal Peter suggested that we mark the steps because it was so hot in the studio, as he did not want us to get dehydrated before dress rehearsal later that night. As such, we went through the three ballets with the music to reacquaint our minds and bodies with the steps; however, Sarah Orza and I did some of "Domani," our duet from "9 Sinatra Songs," full out because we will both be premiering in this duet on tour and felt the need to still work out some details. After rehearsal I made my way back to the hotel to rest before dress rehearsal, stopping for a piece of pizza with sliced zucchini on the way.

At 6:45 we met in the hotel courtyard to walk to the performance venue, Teatro Romano, which is an ancient Roman amphitheater that provides a truly unique performance setting for the performers and the audience. Peter led a warm-up from 7:45-8:15, after which we had 45 minutes of free time to prepare for rehearsal. Knowing that it is hard to stay hydrated in this weather combined with having really tight calf muscles, I set out to find some Gatorade, which I luckily found!

Rehearsal started with a spacing of Opus 111 at 9:00pm. Although the performance venue is wonderfully unique, it is also very unconventional, as there is only one small space to enter and exit the stage on each side at the very back of the stage. Plus, the stage is rounded at the front and it is huge! With people constantly running on and off stage in Opus, this created many obstacles that we needed to work out. After the spacing, we proceeded with the run through, which was really rough, especially first movement. Despite the time that we took spacing the ballet, it was still really hard for all of us to remember the changes and work with the diminished sight lines from backstage... I have my fingers crossed that opening night will go better. After Opus, we got to meet Alessandra Ferri, a legendary ballerina with both ABT and the Royal Ballet, who now programs the dance component of the festival on Spoleto! Then, Carla and Karel danced beautifully in the pas de deux of Waterbaby Bagatelles and we moved on to Sinatra. Unfortunately, Sarah, my partner in both ballets, who hadn't been feeling well, made the decision to return to the hotel to get some rest after Opus and I ended up doing Sinatra solo. It was definitely a good decision on her part to return to the hotel, but it will be nerve wracking to premiere the role tomorrow without a dress rehearsal. Aside from that, Sinatra went pretty well. There were just a few lighting issues that needed to be worked out.

After rehearsal (11:30pm), almost all of the company headed to a pizzeria that extended its hours to accommodate us for dinner, which was a great way to decompress from rehearsal and conclude the evening.

--Benjamin Griffiths

Photos: Spoleto Festival amphitheater and Ben and James Moore's dressing room.

Class - in Italian!

noreply@blogger.com (Pacific Northwest Ballet) — Thu, 05 Jul 2012 18:27:00 +0000

Today we got off to an early start as we had ballet class at 10:00 in the studio at Teatro Nuovo, which is an indoor performance venue used by the festival that is quite an uphill trek from out hotel. The dancers were all joking that we didn't need to take class because our muscles were already warm from the walk! Class was held in the theater's rehearsal studio, which is a rustic attic space with wide planked and slightly uneven floor that, while full of charm, proved to be a challenge for those in pointe shoes. Even still, it was nice to get our bodies moving after all the traveling.

After class we ventured to the medieval hill town Assisi on the train, passing through beautiful countryside... fields of sunflowers and vineyards with the hills in the distance; however none of this compared to our first view of Assisi from the train, with it's amazing architectural detail from another era. We then hiked through the cobblestone streets, taking in the history of the streets and the beauty of the cathedrals. We finished at the at the cathedral of St. Francis, exploring both the large, airy upper basilica and the more intimate lower basilica. The amount of decorative details in both was breath taking.

After that, a few of us headed back to Spoleto on our own and had a relaxing dinner on a beautiful terrace overlooking the valley below Spoleto. The antipasto and pasta were almost as good as the view!

Benjamin Griffiths

Journey from Rome to Spoleto

noreply@blogger.com (Pacific Northwest Ballet) — Wed, 04 Jul 2012 04:36:00 +0000

Unfortunately, even with all of the activity in Rome yesterday and forcing myself to stay up to get acclimated, I still could not sleep last night. As a result, Jordan and I were two of the first people at breakfast at 6:00am. After breakfast, I decided to head to the gym to do my therapy exercises, get my heart rate up, and do a little stretching in hopes that ballet class will not be such a shock to my body tomorrow after 4 days off and 13 hours spent sitting on the plane. Afterwards, I had just enough time to reorganize and check out before our bus call.

The countryside became more and more beautiful with each kilometer on our bus ride from Rome to Spoleto, from the unique Mediterranean fauna, to the picturesque hill top villages, and quaint stone houses. Shortly after arriving in Spoleto, I headed off with a group of dancers in search of food, which proved to be very difficult, as most of the town was shut down for the afternoon siesta and would not reopen until 4:00. Luckily, we found a small cafe that was open and I finally had my first taste of Italian gelato!!! Upon ordering, we realized that English was not as widely spoken by the locals here as it was in Rome, and it motivated me to review some Italian phrases when I got back to the hotel.

Then, at 4:00, the touring company gathered for a reception in the courtyard of our hotel to officially kick off the tour and thank James and Sherry Raisbeck for helping to make this possible for PNB.

We finished the day off with another great meal before turning in for the night and trying to catch up on the sleep that we missed out on the past two nights.

Photo: View of the reception with James and Sherry Raisbeck from Ben's room.

Italy or Bust -- PNB Soloist Benjamin Griffiths Arrives in Italy

noreply@blogger.com (Pacific Northwest Ballet) — Tue, 03 Jul 2012 17:27:00 +0000

This morning I woke up well before my alarm went off (which is a seldom occasion), too excited to sleep in anticipation of my first overseas tour with PNB!!! Upon waking to foggy views of Elliott bay, Italian sunshine could not come soon enough. After ironing out the last details of the trip and zipping up my suitcase I was out the door, headed to the Phelps Center to catch the shuttle to Sea-Tac International Airport... which proved to be a complete zoo! I have never been in the airport when it has been so busy.

I had a little bit of anxiety for the flight, as our first leg went straight from Seattle to Amsterdam. Spanning 11 hours, this was definitely the longest flight that I had been on to date. The flight was fairly uneventful. Many of the PNB dancers tried to sleep, but I think I was too excited for that. The one really odd thing was that although we left on the 1^st and arrived on the 2^nd of July, it never got completely dark outside because of the time difference. We were chasing the sun in more ways than one!

Once in Rome we headed into the central city for some sight-seeing and a company dinner with Roberta Guidi di Bagno, the scenery and costume designer for Coppélia. It was truly amazing to see the colliseum from the taxi on our way to the Spanish steps. Once at the Piazza di Spagna, we sat down for a snack before setting off on foot for the Trevi Fountain. While there, we met up with another group of dancers, took many photos, and then set off for piazza del popolo on the via del corso to the area where we were having dinner.

We ate dinner at Babette, per Roberta’s recommendation. It was nice to enjoy the authentic Roman food in the calm and peaceful inner courtyard of the restaurant surrounded by lime trees and great company. It was a truly memorable day to kick off PNB's Italian tour. Tomorrow we are off to Spoleto and one day closer to the performances!

Benjamin Griffiths

PNB Soloist

Musings on Teens, Choreography, Dreams, Sweet Treats & $5 Tickets

noreply@blogger.com (Pacific Northwest Ballet) — Wed, 02 May 2012 17:42:00 +0000

The active use of imagination and dreaming of what might be possible without limits should never be underestimated as forces for youthful creativity. We at PNB take a lot of pride in our youth, and in our future, which is why we are continuing to provide teens around the Seattle area with a great source of inspiration. That source is PNB’s Teen Night on Wednesday, May 9th! Teen Night is a one hour open rehearsal and an exclusive preview of our NEXT STEP program, where PNB company dancers choreograph new works on PNB School’s Professional Division students.

TEEN NIGHT is your chance to see your favorite dancers up close and personal, ask them questions, and see a different side to their creativity. This year’s NEXT STEP choreographers are: Ezra Thomson, Sean Rollofson, Chelsea Adomaitis, Eric Hipolito, Kyle Davis and Kiyon Gaines. To throw some more into the mix, we are also having a preview of PNB School’s new work by Price Suddarth.

Last year, we had a great rehearsal and reception with treats and drinks. More than 200 teens ages 13 – 19 took part in the evening, and got to speak and mingle with the choreographers and dancers. This year promises to live up to the excitement from last year, and with the $5 ticket price, we all wish we were teenagers! Come and join us, leave your parents at home, and share in the excitement and imagination of PNB’s best on May 9^th!

Tickets available online here:http://www.pnb.org/Season/11-12/NextStep/#TeenNight

See you there!

Nicholas Ade,

Principal, Eastside School,

Pacific Northwest Ballet School

NEXT STEP Coordinator

Ezra Thomson in rehearsal. Photos (c) Lindsay Thomas.

More...

Director's Notebook: Peter Boal on Apollo & Carmina Burana

noreply@blogger.com (Pacific Northwest Ballet) — Thu, 12 Apr 2012 21:08:00 +0000

George Balanchine rarely spoke about his ballets or the process of making them. Didn't the ballets speak for themselves and, besides, aren't the critics always offering their analysis of what the artist was thinking? He made an exception for Apollo, though, calling Stravinsky's score "a turning point in my life. It seemed to tell me that I could dare not to use everything—that I, too, could eliminate." The lesson seemed to be revisited time and again, with Balanchine changing the ballet in name, scenic elements, cast size, and even length over a 50-year period. The final version, unveiled in 1978, was a few minutes shorter than the original. Apollo's birth, enacted by Leto, was gone, along with the swaddling wraps that are pirouetted away in his first brash movements. The handmaidens who present the young god with his lyre and guide his hands through the first strokes are no longer there. The chariot and mountain seen in early versions are gone, too, along with the Grecian tunics and laurel wreaths. Even small pieces of the Stravinsky score are cut. What remains is the essence, pure and effective, lacking nothing.

I came to the ballet a bit by accident when I was 20. Patricia McBride assembled a small touring group to present a week's worth of performances at Philadelphia's Annenberg Center. I was there to dance Tarantella. During Tuesday's onstage rehearsals, Ib Andersen, our Apollo, said how excited he was to fly home to Denmark on Sunday. Patty said something like, "How do you stand those red-eye flights?" to which Ib responded, "Oh I can't stand them. That's why I'm flying so early in the morning." Ib had not realized that we had a Sunday performance and it now looked like we had a Sunday performance without a Sun God. Ib and Patty disappeared to discuss and a short while later Patty came to me and said I'd be her Apollo for the final show. Gulp. Patty was everyone's favorite ballerina. She had joined New York City Ballet six years before I was born. She told me I would be fine and that four days was plenty of time to learn the ballet and that I should be careful, since she had a cracked rib.


Peter Boal in George Blanchine's Apollo. Choreography © The George Balanchine Trust. Photo © Paul Kolnik.

Sunday afternoon, sometime in 1985, I debuted as Apollo with a surprising number of critics in attendance. In 2005, I retired from New York City Ballet with Apollo (again, with a surprising number of critics in attendance). I performed the ballet well over 100 times in 20 years and can count 15 different Terpsichores, ranging from the veteran Patricia McBride to a 14-year-old ballet student in Brazil named Carla Körbes. The ballet has been a constant in my career, and I take great pride in staging it now.

Carmina Burana, Kent Stowell's majestic envisioning of 11th- and 12th-century poems to Carl Orff's monumental score, is a reminder of the vision our founding artistic director had for PNB. In 1993, the year the Company moved into the Phelps Center, its new state of the art home, Kent did not want to convey that impression that things would be slowing down. In the same year as the move, Kent choreographed Cinderella and Carmina Burana, two works of tremendous scope with cast sizes that stretched the Company to its limit. They still do. Every member of the Company will dance in Carmina, along with several of our advanced students to complete the cast of 40. The triple threat of dancers, chorus, and orchestra will be felt to magnificent effect throughout the Hall.


Founding Artistic Director Kent Stowell rehearsing PNB Company dancers in Carmina Burana. Photo © Kurt Smith.

Kent's collaborations with Ming Cho Lee are always memorable. Next season, you can see two of them: Firebird and Swan Lake. In Carmina, Ming offers an architect's eye and an engineer's mastery. Completing this team is lighting designer Rico Chiarelli, who adds shadow, secrecy, and celebration to these robust tales.

As you savor these two signature PNB works, take a look at what we are offering in our 40thAnniversary Season. New works and classics, Balanchine and Wheeldon, guests and lectures, and countless opportunities to celebrate one of this country's great artistic treasures, your Pacific Northwest Ballet. Show your support and appreciation by requesting your subscription today. You won't want to miss it. Thanks for being with us. – Peter Boal

Inside NEXT STEP: A look at the softer side of choreographer, Kiyon Gaines…

noreply@blogger.com (Pacific Northwest Ballet) — Wed, 04 Apr 2012 00:06:00 +0000

I have an insatiable need for speed as both a dancer and a choreographer! I ‘m not quite sure when it began, but for me the faster it can be the more exciting. Much of the work that the audiences here in Seattle have seen from me has a vitality and fervor that is complimentary to the kind of dancer I am. I like to include my audiences on adventures with me as well as the dancers because I want the audiences to be a part of the work. I am always thinking about the public when I am choreographing because as much as we dance for ourselves as artists we dance equally as much for our patrons and supporters. When making new work, I often think to myself, “what would be really exciting to witness?”

Last year's work, 10: Un –A’ frayed Edges was all about excitement and frenetic energy. I wanted to play with speed, angles and formations. I wanted to use lots of dancers and experiment with different groupings. The goal was really three fold. First, I wanted to challenge my dancers so that they could become amazing artists. Second, I aimed to create a work that would keep the audience enthralled and eager for more, and the last goal was to challenge myself to create to an original score by Aaron Severini. A lot of the movement phrases sliced across the stage, and sharpness and attack were the motivations for a lot of the movements. 10: Un –A’ frayed Edges was colorful and fantastical and it is also the polar opposite of the new work I am creating this year, Divergences.

Divergences is literally a departure from my normal “style” that many audiences have become accustomed. The most glaring difference in this new work is that there are no pointe shoes to be found. I wanted to try to build different vocabulary force myself into uncharted territory. The music is the haunting composition entitled Child by David Lang. It is soft and quiet, and starkly different from the fast paced 10 of last year. I have decided to use two dancers this year, and give them an inspiration to draw from, the feeling of loss. During the process I think that both dancers are really beginning to believe the story that they are creating together. This year it’s not about connecting to the audience through their excitement, but rather reaching out to their emotions. The movements are simple, smooth and sometimes erratic. I wanted to use my voice as a dance maker to attempt to say something completely different. My aim was to use choreography as a vehicle through which to convey emotions through the artists, to appeal to the audience’s emotions, and to explore my own feelings about dancing and dance making.

Just as every dancer ought to have the opportunity to explore different facets of themselves as performers, choreographers should also have chance to explore the different facets of their visions. I hope you enjoy my slight departure this year.

Please come and share in NEXT STEP, an evening of dance created by this year's great choreographers and performed by the stars of tomorrow. - Kiyon Gaines, PNB Company dancer & choreographer

Dress Rehearsal Notes from Artistic Director Peter Boal

noreply@blogger.com (Pacific Northwest Ballet) — Fri, 16 Mar 2012 00:14:00 +0000

PNB Company dancers (l-r) Lindsi Dec, Carrie Imler & Rachel Foster in Victor Quijada's
Suspension of Disbelief. Photo © Angela Sterling.

Dear Friends,

Our NEW WORKS program offers three exciting pieces by three young choreographers. (The oldest turned 40 last week.) Two are new to PNB audiences and one returns with a second premiere. Here are a few interesting facts about this program and what's going on right now at PNB:

According to choreographer David Dawson, "a million kisses to the skin" is the sensation that an artist gets when everything is working.

Despite widespread popularity in Europe with works in numerous companies, PNB is only the second US company to perform a work by David.

It was photographer Angela Sterling who first introduced me to David's work.

One of the gestures in Kisses is called "taking the T-shirt off" another is called "taking the wet T-shirt off."

David danced for William Forsythe. Victor Quijada danced for Twyla Tharp.

Each of these three choreographers is tri-lingual and Annabelle speaks five languages.

I first became aware of Victor Quijada's work when we shared a dressing room 15 years ago and he gave me a demo tape of his work.

Jasper Gahunia created an original composition for the premiere of Mating Theory. Jasper spent the last two days snowboarding at Whistler.

Cylindrical Shadows is a co-creation with Olivier Wevers' Whim W'Him. Olivier was the stager for PNB. Annabelle's brother went to high school with Olivier.

The aria in Cylindrical Shadows is sung by Susan Graham. It is from Henry Purcell's Dido and Aeneas.

Visiting us during this program are the executive director of the Joyce Theater in New York, the editor of Dance Magazine, the artistic directors of Los Angeles Ballet, Washington Ballet, and Boston Ballet.

You heard it here and we'll see you there. Enjoy it and tell a friend. This is a water cooler program and talking it up starts with you. - Peter

Choreographer Victor Quijada on Creating a World Premiere for NEW WORKS at PNB

noreply@blogger.com (Pacific Northwest Ballet) — Thu, 08 Mar 2012 19:34:00 +0000

Choreographer Victor Quijada.
Photo by Roland Lorente.

PNB: Your company in Montreal is called RUBBERBANDance Group. Where did that name come from?

VQ: Partly an identity of a time back when I was in Los Angeles dancing in ciphers, in underground hip-hop spots. That’s part of it. And then another part of it is the notion of taking many different influences, bundling them up together, and dissolving the boundaries of where one style or genre ends and where the other one begins by stretching those categories out of shape.

PNB: Early on in your career you worked a little with Twyla Tharp. How did that experience working with her and her choreographic process influence you?

VQ: Yeah, I worked for about three years with Twyla Tharp in New York. That’s why I left Los Angeles actually. I was touring with her company.

Obviously she’s a prolific and accomplished dance maker and I am definitely influenced by that experience. I don’t know exactly if I can put it all into words right now. I was very influenced by the time I spent growing as a young dancer in that situation, which was extremely demanding and not a lot of time for messing around. We put the work in and rose to the occasion.

PNB: Yes, when she’s been here working with Company, we’ve all been impressed with her work ethic.

VQ: I didn’t really know what I was getting myself into with someone that is so rigorous and so demanding, but that’s because I didn’t really come up through this classical culture. I started out very young street dancing, that’s another, what do you call it….undisciplined discipline that happens in that world and I think Twyla really helped me. That experience with her really put up a very strong framework around how I approach making work and getting work done.

Victor Quijada working with Company dancers. Photo by Lindsay Thomas
Click here for images of Victor working with PNB Dancers.

PNB: While we’re talking a little bit about your process, what is it like working with a classical company versus your own company?

VQ: In a situation like this big company, I think the biggest, most obvious difference for me is the scheduling and how I spend time with people – and what kind of time I spend with them. When it’s my company, that’s what we’re working on. It’s just us, and that’s what we’re focusing on.

I’m also thinking a lot about the space… where it’s going to be presented and the size of the theater. That’s something that keeps popping up in my mind, as opposed to when I'm making work for my company, which is not necessarily performed in opera houses. Most of the time, it’s more intimate one thousand seat houses, and a thousand seats versus three thousand seats is a huge difference when considering how close the audience is and what can happen.

The dancers here are phenomenal and it’s great to have a huge group, like an endless number of dancers here that can follow me giving them a lot of information in just a few weeks. I’m interested in getting their bodies out of what their normal habits are and exploring a horizontal or a skewed axis, not necessarily staying up on the longest vertical line. I think that’s the big shift for everyone here, but I’m lucky and appreciative to be able to work with dancers who have a more classical sensibility,

PNB: And how has [Stager Anne Plamondon] helped out in that process?

VQ: Oh, Anne’s great because she’s been working with me for almost ten years and so the technique that is supporting the movement that I’m asking the dancers to do, she was part of the creation of that technique. Even if it’s brand new movement, she’ll know how to help the dancers work toward getting out of that verticality, finding out how to connect in the way that we’re connecting – the partnering that we’re doing is quite different– there are subtle differences that make it unique in the way that we connect with partners. So having her there as a woman, connecting with the woman’s body then helping the women –the women sometimes see me and they’re like, oh well he’s a guy, and so yeah, he’s moving that way, but to see a woman that can really help them find their pathway into this way of moving is super.

PNB: Got it. So, what do you like to do when you’re here in Seattle? You’ve been here before…

VQ: Well, it’s a beautiful, beautiful, beautiful. Last weekend was a great weekend. When we’re working, 7:00 comes, and you’re so busted. (Laughs) But this weekend, we walked a lot, and went to the market and down to the waterfront. I just think Seattle’s great, the people are great, everything is beautiful and I’m just happy we’re having so much fun.

Pacific Northwest Ballet presents NEW WORKS
March 16-24 @ McCaw Hall
TICKETS & INFO: 206.441.2424 or PNB.org

Peter Boal Announces 6 Choreographers for NEXT STEP 2012.

noreply@blogger.com (Pacific Northwest Ballet) — Fri, 17 Feb 2012 23:11:00 +0000

There is a new tradition brewing around Pacific Northwest Ballet’s Phelps Center this time of year, and that is the beginning of the wonderful process of NEXT STEP . This distinctive performance where PNB Company dancers choreograph new works for our most advanced students in PNB School’s Professional Division is set for June 16, 2012. Although it’s four months away, one of the most exciting aspects of NEXT STEP is the creative process, and we would like to invite you to enjoy the ride with us! This blog will be your all-access pass until you see the final product on stage. To start, I thought it best to go to the source of artistic support for this vital opportunity for young artists; that support comes from PNB’s Artistic Director Peter Boal. Here are a couple of answers to questions I asked him about NEXT STEP, as well as his announcement of this year’s six NEXT STEP choreographers:

“There are three that are brand new to this and I think that is exciting, so they naturally have a heightened sense of nervousness. They are Chelsea Adomaitis, Kyle Davis, and Eric Hipolito Jr. I am eager to see what Eric and Chelsea come up with, and although NEXT STEP pieces are generally more contemporary, Kyle is challenging his dancers in a more classical way. Also I am intrigued to see how the veterans evolve in this year’s process. They are Sean Rollofson, and to watch him grow and draw his message out of the dancers will be fun to watch. Ezra Thomson who did a completely charming piece in 2011 and has terrific potential as a choreographer. Also one that never disappoints, Kiyon Gaines, who inspires and pushes his dancers will be bringing the best out of his cast.”

Professional Division student Kiara Felder in rehearsal for NEXT STEP.
Photo by PNB School student Nathaniel Solis.

Why is NEXT STEP important to Pacific Northwest Ballet?

I feel an obligation as Artistic Director to offer opportunities to up and coming choreographers so that they can practice their craft. How else do you develop the next Balanchine, the next Jiri Kylian or Christopher Wheeldon? And even some of the younger ones such as Mathew Neenan and Olivier Wevers who got their first chances at choreographer showcases such as NEXT STEP. I think without that opportunity the art form doesn’t continue to renew itself. We need NEXT STEP in order to invest in the future of our profession.

Can you explain how vital the learning process is for the Professional Division Students?

We look at every aspect of how we educate these young pre-professionals. When we started this process of choreographing on the students, you realize that it’s essential and a key part of becoming a professional dancer. Learning how to work with a choreographer, remembering the new material you have been given in the studio the next day, how to collaborate and make vocabulary come to life for an audience on stage. I think it is one of the most important things we offer and teach them. Also, many of the choreographers are not that far removed from being students themselves, so you have a sort of peer bonding that happens.
Rehearsals have really started to get underway, and it’s not only the students and choreographers who are involved. Nathaniel Solis, a PNB School student, will be taking some of our rehearsal photographs, and the brilliant student artists of the Seattle Youth Symphony Orchestra will be joining us again for this treasure we call NEXT STEP . Please follow us on Twitter (#NextStepPNB) and on Facebook in order to keep up to date with the process!

Till later,

Nicholas Ade

Coordinator, NEXT STEP

Principal, Eastside School

Pacific Northwest Ballet School

http://www.pnb.org/