At the start of the New Year, I take a few minutes to reflect on how robust the dance scene is in Seattle, as well as north of the border in Canada. I have indeed been fortunate to have academic jobs that allow me to busy myself with both dance classes and dance writing. Western Washington (or, “The Pacific Coast” in Canada) is no exception.
Pacific Northwest Ballet’s “Emergence” program in November was most certainly a highlight of the year. Angelica Generosa and Benjamin Griffiths sparkled in their Tempo Giusto in Kiyon Gaine’s Sum Stravinsky. It is clear that Balanchine’s style affects Gaines — “one of my biggest influences,” Gaines is quoted in the program notes. The “Balanchine blue” of Pauline Smith’s gorgeous costumes is utterly tasteful. Patterns, affectations, detail — Sum Stravinsky is a well-organized flurry of groups and individuals moving in unpredictable formations and with amazing speed. Below, Maria Chapman — with her highly articulate point. Not just a pretty foot, her arabesque turns were especially memorable, as were Lesley Rausch’s strength (in her upper body and her core), and Steven Loch’s and Chelsea Adomaitis’s soaring leaps.
Also of note is Jessica Lang’s transcendent The Calling featuring James Moore and Dylan Wald in the casts I saw. Integral to Lang’s work is her focus on elongated posture and etched-like positions. Not a single movement is gratuitous — the choreography is that deliberate. The medieval, romantic music added to the setting of noble gesture and honest emotion. Below, the magnificent Dylan Wald.
Price Suddarth’s Signature is a significant work, though almost overshadowed by Barret Anspach’s mesmerizing music (what a talent!). Beautifully integrated, coherent phrases for both men and women — this piece is worth seeing and hearing again and again.
Crystal Pite’s Emergence — much has been written about this eerie piece. Frankly, I use it as a reference point in my writing. There’s nothing quite like it, with all the individual elements somewhat familiar, but the whole a complete shock each time I see it. It’s impossible to single out individuals in this piece, which I think is the point. Apparently, the inspiration for the work came from Pite’s read of Emergence: The Connected Lives of Ants, Brains, Cities and Software by Steven Johnson. Pite’s creature-dancers are chilling, visceral, almost militaristic, and thus overpowering. This is a piece that with all its hyper-extensions and hyper-flexions propels the audience into surreal adventure that grabs you by the neck, the core, one’s entire being.
With this program, PNB raised an almost-impossible bar — it, obviously, had to follow up with even more inventive performances. What better way to do this than to offer an entirely new (and delightful) Nutcracker creation — a George Balanchine version, but with Ian Falconer scenic and costume design — and another program of Jean-Christophe Maillot striking Romeo et Juliette? 2016 is off to a good start.