A Mixed Night at PNB: Pacific and Carmina Burana

As we mentioned the other day, Seattlest was very excited for the PNB production of Carmina Burana, but we left a bit perplexed and frustrated. To start, we enjoyed Mark Morris' Pacific, a light and dreamy piece that found our thoughts wandering in a pleasant way about halfway through, befitting of a day spent listening to the ocean advance and retreat while pretending to read a book. It was a short and "limited" (to borrow from Seattlest Michael's summation) composition, but the perfect exemplar of Morris' work: seamless integration of ballet's technique and precision with the freedom and rule-free whimsy of modern dance. We love that he breaks ballet traditions by having group pieces with three men and one woman, all performing the same choreography (sure, later in Carmina Burana we have a woman with three men but stereotypically she's a harpy and they are pining for her), and the costumes were simple and perfectly suited to the choreography.

A short break, and then we return for the centerpiece. Curtains up, the first ever-familiar, booming section of music that Hollywood so adores, Ming Cho Lee's impressive rotating sculpture framed from behind by the choir, and we're pleasantly surprised by a very contemporary opening scene with about 12 male corps dancers. (Though we're not so sure about the loincloths...) It was a sea of urging, tribal movements, and we were expecting more of the same throughout. We were disappointed. This section was followed by a series of male/female duets in simple shimmery skintight costumes, who reappeared sporadically as what we surmised to be some spirit-world creatures. We're not sure of their purpose, but we enjoyed the choreography for these couples the most: sinuous, athletic and effortless all at the same time. What we did not enjoy was the entire middle section: endless choral choreography of couples wearing costumes plucked straight from an off-Broadway production of Oklahoma. We wish Stowell had not been so dogged in adhering closely to the score--some judicious editing to pull out sections that lag on and on, along with a less literal interpretation of the music during the more subdued sections would have benefited the piece overall. That, and eliminating anything resembling a can-can line. Despite being underwhelmed ourselves, the audience seemed entirely enthralled and practically leapt out of their seats to offer a standing ovation at the end.

We're more interested now in the final week of the festival, which will feature choreography by such modern dance luminaries as Trisha Brown, Merce Cunningham, and Donald Byrd. (The schedule is a bit complicated, with different programs playing on nearly alternating nights and at different pricing ranges, check the PNB site for all the gory details.) Also, Seattlest favorite Ten Tiny Dances will be featured during intermissions in the lobby. We applaud Peter Boal's contemporary and unique vision for PNB--we're extremely excited to see him taking risks and bringing new forms to the company's repertory.

Pacific Northwest Ballet corps de ballet dancer Lucien Postlewaite in the PNB premiere of Mark Morris’ “Pacific” (c) Angela Sterling photography.