|PNB Principal Dancer Noelani Pantastico in Crystal Pite's 'Plot Point'|
photo @ Angela Sterling
We toss that word around so cavalierly these days that sometimes, when we encounter a real genius, the accolade doesn’t feel strong enough.
Genius really is the only word that adequately describes choreographer Crystal Pite and the magical worlds she creates.
Perhaps you first encountered Pite at Seattle’s On the Boards. Or maybe in 2013, you saw Pacific Northwest Ballet’s presentation of her large-scale ballet ‘Emergence.’ Contemporary dance fans who thought they didn’t like ballet snapped up tickets; traditionalists were introduced to a new way of thinking about a classical art form.
Then local audiences got to see ‘Betroffenheit,’ a collaboration between Pite’s dance company Kidd Pivot and Electric Company Theater. This harrowing performance about love, loss, grief, madness and redemption won Pite even more fans.
If you have yet to discover Crystal Pite, get yourself tickets to one of this weekend’s performances of PNB’s latest program, ‘Her Story.’ In addition to satisfying dances by Jessica Lang and Twyla Tharp, you’ll get a chance to see the American premier of Pite’s intriguing ‘Plot Point,’ originally created in 2010 for Nederlands Dans Theater.
PNB Artistic Director Peter Boal says when he invited Pite back to the Seattle, she suggested revisiting this particular work, an exploration of the meaning of story.
With ‘Plot Point,’ Pite creates a mysterious, almost hazy, film noir aesthetic, animated by Bernard Herrmann’s famous score for Alfred Hitchcock’s seminal 1960 horror film, ‘Psycho,’ with additional sound design from Owen Belton.
The curtain goes up on two men in trench coats, running, semi-obscured by a gauzy scrim. Who are these two? What are they running from? We don’t know yet. And, are they really both men? One of the figures is pure white, from his fedora to his shoes; a white mask obscures his features
Soon, we meet an amorous couple, only to discover each is married to somebody else. A jealous husband seeks revenge; a spurned wife wants to end her own life. Each of these characters is ‘mirrored’ by another faceless white doppelganger. Sometimes the replicant moves in synch with her human partner; sometimes she watches then repeats the human’s movements. When the replicant moves, she is not human but something else entirely.
The replicants move across the stage with exaggerated articulation of elbows and knees, ankles and wrists, so that we see the mechanics of each footstep or turn of the head. Their fingers are splayed and stiff, like Star Wars’ C3 PO. Are they robots, like him? Do they have free will? Do these replicants actually serve to set a story in motion?
Part of ‘Plot Point’s’ genius is that--although there is no real plot, only a series of instigating actions and the ramifications of those actions--Pite has opened the curtains and ushered us into the secrets of a hidden world. It’s mysterious and fascinating, demanding and rewarding.
PNB’s stellar dancers rise to Pite’s choreography. In a conversation after the Saturday, November 4th matinee, principal dancer Lucien Postlewaite explained that Pite has a clear idea of how every movement should look, and where it should begin in the dancer’s body. Sometimes, he said, the movement starts with the face; other times with the pelvis, or a foot, or a shoulder. This choreography is physically challenging, but thought provoking as well. Pite never throws in a gratuitous move, everything is where it is for a reason and the entire cast embraces it fully.
It seems fitting that an artist as talented as Crystal Pite would explore the mechanics of storytelling. Every work of hers that I’ve had the good luck to see has carried me on a full journey. In my mind, her greatest gift is her ability to create non-traditional narratives that fully captivate her audiences. With‘Plot Point’ or ‘Emergence’ or ‘Betroffenheit,’ Pite transports me into new worlds both beautiful and strange, and always profoundly moving. I want to travel with her again, and again, and again.