PNB's Director's Choice: All Fun and Range

The program opens with a bang, with the PNB premiere of the company’s newly acquired Petite Mort by renowned choreographer Jirí Kylián. It is the first Kylián work acquired by PNB, important for its demanding use of fencing foils and its approach to partnering technique, and a fulfilling challenge for classically-trained dancers. The piece begins with six men silently emerging from the shadows of the stage, balancing fencing foils high above their heads on the tips of their index fingers. The movement escalates into a mixture of slow-fast, forceful yet deliberate synchronization, susceptible to mistakes yet impressively mastered by the PNB’s principal men. On opening night, a slight bit of nervous tension seemed to radiate from the stage, but the men regained their rhythm quickly enough once they were free to unclench and run upstage to reveal the prone figures of the piece’s six women. Kylián doesn’t use the women for the same kind of dramatic solo impact as his men--or even the foils--but rather as a fulfillment for a series of athletic and sensual pas de deux that must have been wonderful for the dancers to rehearse and set to shape. Set to two of Mozart’s popular piano concertos, minimally costumed with flesh-toned corsets and staged by Rosalyn Anderson, this marks the first of what Boal has promised to be many Kylián works performed at McCaw Hall.

Mopey was originally commissioned for Peter Boal and Company in 2004 and introduced as a PNB premiere during Boal’s first season as PNB Artistic Director. The admittedly unique nature of the fourteen-minute solo was a risk for Boal: “Four years ago, I shrank in my seat wondering what kind of reaction this odd tour-de-four would earn in Seattle.” And it’s true that the piece seems to be more of a challenge for the audience than for the performer (in this case soloist James Moore), because he dances as though he doesn’t even know--or care--that you are there. Moore’s throbbing energy is fueled by the thrill of being alone, but brings to mind the oft-seen teenage typical careless attitude: outwardly defiant, yet longing to be loved and accepted. It’s a larger representation of Boal’s decision to keep the piece in his company’s repertory, the confidence that those sitting will understand that sometimes it’s a compliment to not always be catered to. The audience was transfixed, laughed and clapped and shared in the moment. Well done all.

Even so, it was nice to finally see a pair of pointe shoes when the curtain re-opened to reveal choreographer Val Caniparoli’s contemporary interpretation of Alexander Glazunov’s The Seasons. Along with Petite Mort, this work is a classic example of the fruits of the company’s New Works Initiative. PNB partnered with Louisville Ballet to commission the work, performed here in Seattle as a world premiere. Maybe it was only the serious nature of the first half of the program, but the company seemed to exude a little more energy and spirit once at home in the classically-structured movement. Granted, Caniparoli’s choreography is dexterous and quick--not an adagio in sight--and makes generous contemporary use of the upper body. Each season’s characters are delighted to share and to celebrate, especially the sprightly Kaori Nakamura, who was a pleasure to watch as The Swallow. A mention must also be made of the costumes, designed by Sandra Woodall in a “retro-contemporary look,” further rendering the whole piece flighty and fun. In contrast to the rest of the program, the hierarchical casting, in the spirit of Balanchine, highlighted the technical prowess of the company’s principles and soloists and the solidity of the corps de ballet.

Finally, the West Side Story Suite was another transition to musical theater. The suite was first performed last March as part of PNB’s Broadway Festival, and carries the spirit of The Seasons into an energetic summary of the musical’s plot points. Jerome Robbins premiered his suite for New York City Ballet in 1995; it’s the musical's choreography re-worked for ballet dancers. Most of the singing is done here by guest soloists, although PNB’s Seth Orza performs admirably alternately dancing and singing as Riff. Carla Körbes rocks the stage as Anita, and lovers of the film will appreciate the nod to her character’s sassy purple party dress. Speaking of which: the costumes, courtesy of the National Ballet of Canada, are stupendous and best appreciated when the entire cast is onstage during the gym scene and facing off in color-coordinated fury. Overall, a fine wrap-up to the night.

The Director’s Choice program runs for a final time this upcoming weekend. Next up for the company is the seasonal run of The Nutcracker, kicking off Thanksgiving weekend. Notable later next year is the PNB Premiere production of George Balanchine’s Coppélia, another example of the New Works Initiative yielding a constant stream of fresh ballet to the Seattle stage.

Program continues through November 15 // Marion Oliver McCaw Hall, 321 Mercer St. // times and ticket prices vary