PNB Principal Dancers Seth Orza and Noelani Pantastico in Jerome Robbins' "Other Dances." photo @ Angela Sterling |
If you’re a regular at Pacific
Northwest Ballet, you’ve had the chance to experience work by a bevy of
choreographers. You’ve also gotten to dive more deeply into the dances of
William Forsythe, Twyla Tharp, and of course, George Balanchine.
But PNB’s two-part celebration of
Jerome Robbins' centenary, continuing this weekend at McCaw Hall, is something
new and most welcome. Although PNB presented only seven of Robbin’s many
ballets, the chance to see them in this format was exhilarating and illuminating.
PNB Artistic Director Peter Boal,
who worked with Robbins during Boal’s tenure at New York City Ballet, has
designed two unique programs that share only one dance—a brief bit of cotton candy called “Circus
Polka,” featuring 48 young girls and a ringmaster (Peter Boal on opening
night).
From left, Laura Tisserand and William Lin-Yee, Benjamin Griffiths, and Jerome Tisserand lifting Noelani Pantastico from Robbins' "In the Night," photo @ Angela Sterling |
Program A features four other
Robbins’ dances: “In the Night,” a work for three couples set to Chopin piano
music, “Afternoon of a Faun,” a haunting pas de deux inspired by Vaslav
Nijinsky’s 1912 work, the iconic “West Side
Story Suites,” and a new to PNB pas de deux, “Other Dances,” originally
created by Robbins in 1976 for Mikhail Baryshnikov and Natalia Makarova.
I could write at length about any
of these four ballets. Each is distinctive and we've seen most on other mixed bills. Seen consecutively on a single
program, they provided so much insight into Robbins’ aesthetic.
“In the Night”
is actually three separate duets about relationships. Leta Biasucci, (newly promoted
to principal dancer) floated in new love with Ben Griffiths. Laura Tisserand and William Lin-Yee were more earthy; Jerome Tisserand with Noelani Pantastico were fireworks onstage, enacting a passionate and volatile couple.
Pantastico was equally dazzling
with Seth Orza in “Other Dances.” It must be hard to tackle work created on
such stars as Makarova and Baryshnikov, but that didn’t seem to daunt either
PNB principal. Orza was solid as always; Pantastico moves across the stage like
a smooth-flowing river. Watching her, I don’t think “wow, that’s hard,” or “wow,
look at that intricate lift.” Well, I do think those things, but mostly I am
awed by the way she owns the dance and the music, melding her body with it all
so that the sum is greater than any single part. Watching a dancer at the
height of her artistry performing work created by a choreographer at the height
of his own is reason enough to go to the Robbins’ Festival.
From left William Lin-Yee, Leah Terada, Angelica Generosa, Dylan Wald, Leah Merchant and Dammiel Cruz in "Dances at a Gathering" by Jerome Robbins. Photo @ Angela Sterling |
Program B offers its own
compelling draw: “Dances at a Gathering,” created for NYCB in 1969. Many dance
writers acclaim this work for ten performers as Robbins’ ballet masterpiece.
Set again to Chopin piano (performed by Christina Siemens), “Dances” examines
human relationships and emotions in their varied forms.
From Lucien Postelwaite’s almost
wistful entrance to Kyle Davis and Noelani Pantastico’s intricate and demanding
scherzo, “Dances” provides the PNB dancers with an opportunity to shine. They
didn’t disappoint. I expect PNB’s principal dancers to excel; in addition to
Pantastico and Postelwaite, the family Orza (Seth and Sarah) provided some
breathtaking work. I mean that literally. At one point, Sarah Orza is lifted
into the air then spun around like a baton. She ends up head down, legs
together straight up in the air. What??? In fact, the lifts, throws and carries in this
work deserve their own essay. They are intricate, thrilling and, in the hands of these dancers, masterfully executed.
In addition to fine work by
soloists Davis and Joshua Grant, company member Elle Macy demonstrated once
again that she deserves every solo role offered her. Macy is all tensile strength,
but she has a musicality and a charisma that really distinguish her work. (More
Elle Macy!)
God I love this photo by @Angela Sterling! This is from Robbins' "West Side Story Suite." Ezra Thomson, center in the white tee shirt, is dancing the role of Riff |
Watching “Dances at a Gathering,”
I couldn’t help but think about the prior evening’s performance of “West Side
Story Suite,” when the entire ensemble takes the stage to the song “Somewhere.”
In “Dances” the ensemble enter in a similar fashion, strolling to their marks,
almost the way people walk into a room in non-ballet life. The pieces couldn’t
really be more different, and yet, they share a freshness, almost an
American-ness, if there is such a thing.
Years ago, a Frenchman I know
told me he could always tell an American; he said we have open faces, we smile
more than Europeans, we anticipate the possibilities. I don’t know if that’s still how he
thinks about Americans, or if he meant only white Americans. I do know that Jerome Robbins’ dances have that
same feeling of anticipation and possibility. Even the Part B closer, "The Concert (or The Perils of Everybody) has a silly, slapstick anything-goes quality. The characters in this dance are more "Fancy Free" than "West Side Story," but they share that quintessential American quality of hope for the future. If I had any quibble with PNB’s
Robbins Festival, it’s that it’s not comprehensive enough. Where were “Glass Pieces” and
“Fancy Free?” And the 60-odd other works we didn’t get to see?
Miles Pertl, with umbrella, and PNB company members in a scene from "The Concert" photo @ Angela Sterling |
That may have to wait until his
bi-centenary. For now, you still have a chance to catch the Jerome Robbins’
Festival September 27-29th at McCaw Hall. By the way, Program A only
has one performance, Saturday evening the 29th so get your tickets now.
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