|Pacific Northwest Ballet corps de ballet dancer Chris D'Ariano in Donald Byrd's Wake the Neighbor|
photo courtesy Seattle International Dance Festival
Despite the general misperceptions, ballet is much more than tutus, swans and sugar plums. You can see the art form’s dynamism at any of Pacific Northwest Ballet’s contemporary programs. Seattle International Dance Festival also provided a showcase in its Spotlight on Contemporary Ballet program June 19 and 20th.
Program curators packed six works into a fast-paced evening that not only turned the spotlight on contemporary ballet, it also showcased some of PNB's newest generation of talented performers and choreographers as part of a collaboration between SIDF and the Seattle-based ballet company. Of the six dances on the bill, only two did not involve PNB-based artists. Each of these pieces had something to recommend it, but I was particularly struck by two of the works, both in the evening's second half.
The first was a solo called Wake the Neighbor, created by Spectrum Dance Theatre Artistic Director Donald Byrd for PNB’s Next Step Outside/In and performed by PNB’s Chris D’Ariano. This solo displayed both D’Ariano’s promise, and Byrd’s mastery of his craft.
The action begins when D’Ariano struts onstage in black jeans and tee shirt, his dark curly hair tousled around his face. He is both handsome and a little arrogant, like every young man in his prime. At first, D’Ariano dances in silence, but once Kris Bowers’ energetic electric score begins, D’Ariano’s every move is perfectly in synch with each guitar strum, each downbeat.
Some of his movements are elegant and balletic: controlled leg extensions from the hip, toe perfectly pointed, pirouettes that demonstrate his grace and his strength. Other moves are too-cool-for school, things you might see on a stroll through Capitol Hill. D’Ariano pushes back his unruly hair with both hands, or nods his head to the side, a cool acknowledgement of something we can’t see. No matter what he’s doing, D’Ariano maintains control over his body. That extended leg? He snaps it back to his body in an instant, never touching the floor with his foot. He stops dead after a pirouette, stock still, looking out at the audience. We can’t help but look back, because Chris D’Ariano is simply captivating.
I first saw this solo at the Next Step performance at McCaw Hall; I liked it even better onstage at SIDF, with moody lighting that enhanced the rock star/ballet dancer mashup that Byrd has created for D’Ariano. I’m so glad Wake the Neighbor got a second life with this festival.
PNB's Angelica Generosa and Christian Poppe left, Sarah-Gabrielle Ryan and Kyle Davis, foreground.
in rehearsal for Eva Stone's Careless/Ruthless for Seattle International Dance Festival
photo courtesy SIDF
SIDF’s Spotlight on Contemporary Ballet ended with Eva Stone’s Careless/Ruthless, a work for four dancers, in this instance PNB soloists Kyle Davis and Angelica Generosa, along with PNB corps de ballet members Christian Poppe and Sarah-Gabrielle Ryan.
If you’ve seen work created by William Forsythe or Ulysses Dove, you’ll have a sense of what Stone has crafted in her new ballet. This is an abstract piece, not a narrative, and it has clean, sharp movements. The four performers wear dark leotards and tights, the women are in pointe shoes. Edgy music by Ezio Bosso, John Cage and Forest Swords propel them. The emotion, if you will, originates in the energy of Stone’s choreography, which is onstage in abundance.
The dancers first appear one by one, then quickly pair off, curving sensuously around each other’s bodies. Ryan caresses Davis’ cheek, Poppe lifts Generosa with tenderness. Despite this intimacy, these are not romantic pas de deux. As the title of the dance suggests, the interpersonal encounters are just that—encounters, akin to casual hook ups. Two people meet casually and just as carelessly sever their ties.
Ultimately, we see the four dancers line up, moving simultaneously but not in unison. Each is locked into her or his own universe. I don’t know what Eva Stone had in mind, but I was reminded of the adult parallel play we see when a group of people sits together, their eyes glued to their individual cell phones.
Stone’s ballet was a strong ending for a strong evening. SIDF’s partnership with PNB was a real treat for festival-goers. Normally when we watch these fine dancers onstage at McCaw Hall, we sit a fair distance from the stage, unable to watch their faces or see the intricacies of the choreography. At the Broadway Performance Hall the audience was close enough to view both the effort and the artistry involved in ballet, leaving this ballet geek wanting even more.
By the way, PNB is headed to Paris this week, for a two-week stay with Les Etes de la Danse, a summer dance festival on the Seine River, southwest of the city. The first week the dancers join four other ballet companies in a salute to choreographer Jerome Robbins' centenary. Week Two, they'll present nine different ballets, included works by Twyla Tharp, Benjamin Millepied, Christopher Wheeldon, Ulysses Dove and Justin Peck. "A season in a box," PNB's Peter Boal calls it. Wish I was there!