Every year, along with the performances like Swan Lake and Nutcracker the Pacific Northwest Ballet (PNB) showcases choreographers. April 15, it was three works of George Balanchine. The world of ballet lost George Balanchine in 1983, but performances like the PNB All Balanchine keeps bringing his genius to Seattle ballet lovers. And I, for one, am glad that they do.
As we all know, I do not read the programs beforehand. I want to see what I can get from the performance. Is there a disconnect between artist intent and my perception? Can they convey the message to the viewer, or in this case reviewer? By just watching the performance with no prior information, it is sadly the only way Balanchine and I will ever interact.
As I watched Serenade, the first performance of the evening I was struck by how beautifully it was put together. Artistic Director Peter Boal did another fantastic job of putting together a great show, but outside of some seriously good dancing, I couldn’t piece together much more. It wasn’t until I read the program later that I discovered why.
Serenade was a piece Balanchine developed over time. “The best way to make students aware of stage technique was to give them something new to dance,” Balanchine said. Set to Tchaikovsky’s Serenade in C for string orchestra, Balanchine improvised whatever he had for the day to put together what would become a signature piece of the New York City Ballet. He incorporated whatever came his way. A late student, more students one day, fewer the next.
In the end, it all works. The set was simple with just a blue backdrop and the dancers wearing blue, it had a very calming effect. After the day I had been having, it was exactly what I needed. After the intermission, I was ready for Square Dance.
Since most forms of dance, ballet included, can be traced back to folk dancing, Balanchine decided to fit classical ballet, 17th century court dance and American country dancing. The original 1957 production must have been a sight to see before the orchestra was moved to the pit and there was still a caller onstage. A solo was added for the principal male dancer.
A friend told me that ballet dancers can take a job anywhere in the world because even if they do not know the language of the director, all the moves have the one name. I feel like that concept went out the window with Square Dance. There were a number of elements that seemed foreign to classical ballet, yet it was delightfully entertaining.
It was interesting to see how all the elements come together. Square Dance really showcased Balanchine’s creativity and ability to put together different elements into something new. It also showcased the versatility of PNB, a classical ballet company. Principle dancers Lucien Postlewaite and Carrie Imler stood out looked at ease playing around in the mixture of styles. PNB shows that while it is a classical ballet company, that isn’t all they can do.
Up last was The Four Temperaments. Rarely seen outside of New Yrok City Ballet, Kent Stowell and Francia Russell brought it to PNB in 1978. While the piece has changed, Russell had Balanchine’s blessing to keep it the way she performed it.
The Four Temperaments, named Melancholic, Sanguinic, Phlegmatic and Choleric. It is four variations on the same intertwined theme. My advice, don’t over think it, just watch. The four variations give the feeling of separate, but interconnected acts within a single performance. It is romantic, graceful and beautiful to watch.
As always, Jonathan Porretta showed why he is a principal dancer. Outside of being able to dance, he is a true performer. There is a difference between dancing for a show and dancing to show off. Porretta gives a good show without looking to see if the audience is watching. He performs for us, not for his ego. He bends over backwards for the company, literally, he bends backwards and walks off stage at the end of Melancholic.
Corps dancer Jordan Pacitti has been growing on me lately. I look back and remember him in every performance I have attended. He is the William H. Macy of the ballet world. Supporting the performance, doing a great job and not outshining everyone else. He grasps the acting and stage presence part of ballet, knowing what to do when not dancing so as to not be a distraction. I look forward to seeing more of him in the future.
All Balanchine runs through April 25. Up next is the Choreographer’s Showcase on April 21.
Top photo: Pacific Northwest Ballet principal dancer Kaori Nakamura (center) with (L-R) corps de ballet dancers Brittany Reid, Leah O’Connor, Abby Relic and Sarah Ricard Orza in Serenade. Photo © Angela Sterling
Middle Photo: Pacific Northwest Ballet principal dancers Carrie Imler and Lucien Postlewaite with company dancers in Square Dance. Photo © Angela Sterling
Bottom Photo: Pacific Northwest Ballet corps de ballet dancers Laura Gilbreath and William Lin-Yee in The Four Temperaments. Photo © Angela Sterling
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