Results tagged “ballet”

If Baguette Box is a little too gourmet for your budget, say hello to banh mi at Ballet. The sandwiches arrived a while ago, actually, but the menu took a while to show up. Ballet is a Vietnamese-fusion joint off Broadway on Pike Street on Capitol Hill. People who live and work in the Pike-Pine corridor use it like a cafeteria (the worn interior and cheap prices complete the effect).

Not that plenty of gray hairs won't like ARC's "Summer Dance at the Center" (8 p.m tonight and tomorrow at the Leo K. at Seattle Rep; tix $15-$25) fine, but let's face it: Ballet as an art form is a consumable cultural commodity. Like Shakespeare, it's something a number of people go see because they want to be cultured, and just as theatres do Shakespeare constantly to meet that demand, ballets cater to an older moneyed crowd (as well as princess-loving little girls) by trotting out the pretty Balanchine pieces with their tiaras and tutus on a regular enough basis to ensure that they don't scare off subscribers.

This Thursday through Saturday, ARC Dance, a North Seattle contemporary ballet company, is taking over the Leo K. Theatre at Seattle Rep with an ambitious mixed-repertory evening, including four world premier ballets (8 p.m., tix $15-$25). Aside from Trinidad Marinez's Tres Tristes Tigres, this is one of the finest dance experiences available this summer.

We have come late to the Nadeau appreciation society--after 17 years, that bandwagon has left the station and steamed from the harbor--but it struck us that there was something extraordinary in a 45-year-old ballerina pulling Forsythe's Urlicht out of the hat for a retirement program.

BALLET (PREL-jzoh-cahjz): Not your average night at the ballet, as the evocative Ballet Preljocaj (choreographed by company founder Angelin Preljocaj) company will perform Les 4 Saisons--a UW World Series debut. Choreographed to the bright and rhythmic music from Vivaldi, Les 4 Saisons provides a playful, colorful, and unconventional interpretation through dance.

We had to choose just one night of PNB's Swan Lake, and so we went with retiring Louise Nadeau's Odette/Odile--as did as many other people as it takes to fill McCaw Hall. Nadeau and Karel Cruz were everything we wanted: love at first sight's boundary-blurring union of echoing gestures, and then, in a little black dress, Odile's "You want this?" rampage. We ran into a friend, though, who was back for a fourth time, and told us how Jonathan Porretta kept his Jester's schtick evolving from night to night. Check the casting combinations for the six shows left, tonight through Sunday.

For ballerinas, Swan Lake is a sought-after, tough, and rewarding double role: Odette the good swan and Odile the evil swan. But it all began with the music. In 1875 Tchaikovsky got the commission from the Bolshoi for a full-length ballet based on the Russian folk-tale of an enchanted swan and the handsome prince who falls in love with her; he composed a lush symphonic score that offers choreographers both languid melodic lines and lively melodies. (Familiar plot: boy meets swan, boy betrays and loses swan, swan commits suicide, boy despairs.) The Swan Lake we know today--indeed, the whole notion of ballerina-as-swan (one speaks of "a ballet of swans")--evolved from this specific piece of theater, grounded in the 19th century conventions of classical ballet, with its reliance on a rigid sequence of dances (waltz-solo-march-action scene).

We said Pacific Northwest Ballet's Broadway Festival was an enormous amount of fun, and it sounds like plenty of you figured that out for yourselves. Artistic director Peter Boal just sent out this "Next round's on me!" email: "With 5,250 tickets purchased to date, we have broken the old record for single tickets sold for a mixed repertory program. It is also the highest grossing mixed repertory program in our company's history, surpassing the old record set by Valentine in 2006." Two shows left: Saturday at 7:30 p.m. and Sunday at 1 p.m.

We have to start here by jumping in and saying that this is easily one of the most exciting weekends of theatre we've seen in town in months--two festivals running, genre-breaking opera, ballet crossing over into Broadway show tune territory, two shows that have had their runs extended (, you've lost your bloody mind. It doesn't get better than this!

ZIPCAR OPEN HOUSE: Drop in at the grand opening of an actual downtown office for Zipcar--in the old Dept. of Licensing location at 3rd and Union. The open house runs until 5 p.m., and if you stop in and join Zipcar today, there's no annual fee for your first year. We're told there's also a prize wheel where you can win driving credits and other goodies, plus free snacks. We use the Zipcar ourselves, and we're happy to hear that the City of Seattle is joining them in a car-sharing arrangement for city employees.

       

It's admittedly contrary of us to be looking for a way "in" to George Balanchine's Jewels (TM). Jewels are meant to be looked at. That's why we've put the photos up at the top of this post. Why type our fingers to the bone when you can just take a gander online and decide if that's your kind of thing?

The best music in George Bizet's early opera, The Pearl Fishers, comes barely 10 minutes after the curtain rises; it's a justly celebrated duet between childhood buddies Nadir and Zurga. Nadir is sung by William Burden, who impressed local audiences last season in Iphigenia; he's a tenor, so you know he's going to get the girl, while Christopher Feigum, a baritone, sings Zurga, and you know he's going go through some soul-searching before he Does The Right Thing, in this case burning down the village that's just elected him chief so that his BFF and the girl (a fallen priestess) can make their getaway.

The moon always seems to be full in Maurice Sendak's illustrations. He's done some 90 children's books, two of them cherished icons (Where the Wild Things Are, In the Night Kitchen), along with one ballet. As it happens, Seattle is the beneficiary of this unique venture into set-and-costume design: the wildly popular Nutcracker, which celebrates its 25th season this year.

      

There is nary a tutu to be seen on Pacific Northwest Ballet's New Works program (through November 16, tickets $25-$155), which is an eclectic collection of dance pieces by Mark Morris, PNB's Kiyon Gaines, Benjamin Millepied, and William Forsythe. Not that we have anything against tutus. In fact, some of our best friends...but that's neither here nor there. We bring it up only to emphasize the leap that Peter Boal is making with PNB, in integrating so many kinds of new works into the company's repertoire.

O'Neal's back it up leads off the program, assembling the dancers in street/rehearsal clothes, very "Fame! I'm gonna live forever," with music by MF Doom, X Clan, Riuchi Sakamoto, Pete Rock & CLSmooth, and Cut Chemist (featuring Edan & Mr. Lif). Costumes for all the pieces are by Jessica Markiewicz, and they add a great deal to each. They warm up, step into dance floor moves, pop and lock, and in general, front like an MTV hip hop special. But there's a current of contact improv that flows through the piece--O'Neal said later she was thinking of Peter Pan and his shadow--where the dancers grab at each other's ankles and are pulled along or pull themselves. We're not sure why, but it pleased us, this disruptive play during what felt like a set of polished pros, strutting moves.

With this year's Bumbershoot nearly upon us, let's continue to hope that the weekend weather keeps looking good. If you don't have tickets yet, stop by your local Starbucks to avoid the lines and fees at the gates. Check out a few more tips (bring water and a jacket! take the bus! wear sunscreen! call your mother!) at the Bumbershoot site.

       

Macho, moody, and whimsical, PNB's All Robbins program is a stand-up triple, if not a home run (at McCaw Hall through June 8; tickets: $20-$150). Actually the Mariners could learn a lot from the raw athleticism, discipline, and teamwork on display. Opening night's Fancy Free sparked and fizzed erratically; conductor Stewart Kershaw, swinging the baton sans panache, kept Bernstein's charged score sounding off-kilter. But PNB rallied during In the Night, and by the time The Concert wrapped up, even the golf-clappers in the audience were on their feet cheering.

    

You know how in horror films they were doing this thing where they'd delete frames and speed up or slow down the film to give the "evil" an eerie, inhuman quality? Zoe Scofield does that live, pretzeling, twisting, writhing, blank face dusted white with a silver streak down the center, her eyes disturbing pools of black under the lights. Yet...a hand reaches out to softly enfold the nape of a neck, there's a surrender, a leaning back. (For more on Scofield, check out Brendan Kiley's interview.)

Depending on how quickly we post this, there are two more showings of the Pacific Northwest Ballet Laugh Out Loud Festival's Program B today, at 1 and 7 p.m. Tickets are $20-$80. We don't know about you, but with all the sleet and snow this weekend, we've been craving some silly indoor festivities. This fills the bill to a T.

    

If we learned anything at Pacific Northwest Ballet's Laugh Out Loud Spring Festival last night, it was that pointing your fingers while dancing en pointe is hee-larious. Ba-dum-ching. We'll be here all week. The fest, another genre-busting divergence from the norm by director Peter Boal, aims to celebrate all that is wacky and funny about ballet. They mean funny "ha-ha" but there's some funny "strange" thrown in as well.

Last night, Bumbershoot announced the first set of acts slated for this year's festival. So far, there's a name or two that could draw us to Seattle Center this Labor Day weekend. Beck? Hell yes! A reunited Stone Temple Pilots? Not so much.

The choreographic genius of Spectrum's Donald Byrd makes God-fearing folk swear and the irreligious cry, "Oh my god!" Partly that's because his dancers present as solid, sweating people, rather than mysteriously gesturing messengers. He consistently brings ideas back to the body--his pas de deux can have an X-rated quality--so you feel the argument he's making.

 

As the curtains parted at the Paramount last night to reveal an undulating gray mass of dancers at center stage, it was immediately obvious that we were in for an evening of dance vastly difference from the usual Seattle repertoire. When the dancers of the Alvin Ailey American Dance Theater take the stage, they do so with a commanding presence and a palpable sense of unity. Friday night marked the first of three Seattle performances for the group this weekend at the Paramount.

We'll tell you right now, there is just not going to be a better Valentine's Day-ish gift than this Roméo et Juliette.