Deftly Folded: Contemporary Classics at PNB

Initially, we were concerned about Ballanchine's Agon--too much "Classic" and not enough "Contemporary" for our tastes. But quickly we were won over by the infectiously inventive choreography paired with Stravinsky's notoriously quirky score. Separated into three main sections, the first was very traditional Pas de Quatre work, piling on people to repeat the classic lines laid out by Ballanchine. We eked satisfaction from the beginning by focusing on Karel Cruz, always our standout favorite as he combines the grounded strength of the other men with surprising lyricism and grace generally reserved for the ladies en pointe. ("When will he be promoted to Soloist?" we keep asking...). The second section picks up more unusual motifs, diverging into downright near Jerome Robbins territory, and spiralling eventually into a tense, unctuous, technically demanding Pas de Deux between Louise Nadeau and Olivier Wevers that was clearly a crowd favorite (including Seattlest). Patricia Barker's departure has left a large hole, and on the off chance that it is something of a vacuum, we suggest that Ms. Nadeau stand as close as possible so she gets sucked in.

The final piece for the evening was Twyla Tharp's In the Upper Room, which proved perhaps to be more challenging for the PNB troupe than we'd expected. A ceaselessly driving work set to an equally looping, unrepentant score by Phillip Glass, the piece is a forceful juxtapositon of modern and ballet styles that sadly wilted under the dancers' inability to fully embrace the less traditional, more modern elements. Properly undertaken, this 9-section juggernaut starts slowly with a group of tennis-shoe adorned women and equally casual male counterparts in black-and-white striped costumes working through a range of easy-going, soft movements until they are interrupted by two women in lipstick-red pointe shoes and their partners who execute sharp, feisty duets and momentarily steal the stage. This tension builds throughout, paired with a flurry of evolving costume changes until nearly everyone is dressed almost entirely in shocking red.

It should run like a train barreling off the tracks full steam, but we never felt caught up in the energy. We don't think it was Tharp's choreography, either, but rather PNB's execution of it. This was most clear when it actually worked, as in the trio towards the end with Batkhurel Bold, Kiyon Gaines, and Casey Herd. These three embraced Tharp's lumbering, aggressively informal style with abandon, and broke through the stiffness we saw in other dancers when trying to execute any of the ardently non-balletic choreography. We hope that with time, In The Upper Room will work its magic on the PNB corps, and eventually a repeat viewing on our part will find us revising our initial impression.

Photos of Louise Nadeau and Olivier Wevers in Agon and Maria Chapman and Jordan Pacitti, both by Angela Sterling.