Helene

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  1. If Ratmansky was asked the question by text after the interview, I wonder if someone on the editorial side asked for a follow-up question on a hot topic. I'm sure it got them their clicks.
  2. More from the press release: Special Events LECTURE SERIES & DRESS REHEARSAL Thursday, June 1 Lecture 6:00 pm, Nesholm Family Lecture Hall at McCaw Hall Dress Rehearsal 7:00 pm, McCaw Hall Join Artistic Director Peter Boal in conversation with Pictures at an Exhibition stager and former NYCB principal dancer Wendy Whelan during the hour preceding the dress rehearsal. Attend the lecture only or stay for the rehearsal. Tickets are $15 for the lecture, or $30 for the lecture and dress rehearsal. Tickets may be purchased through the PNB Box Office. PRE-PERFORMANCE LECTURES Nesholm Family Lecture Hall at McCaw Hall Join Audience Education Manager Doug Fullington for a 30-minute introduction to each performance, including discussions of choreography, music, history, design and the process of bringing ballet to the stage. One hour before performances. FREE for ticketholders. POST-PERFORMANCE Q&A Nesholm Family Lecture Hall at McCaw Hall Skip the post-show traffic and enjoy a Q&A with Artistic Director Peter Boal and PNB Company dancers, immediately following each performance. FREE for ticketholders. LISTEN TO THE BALLET PNB partners with Classical KING FM 98.1 to bring listeners some of history’s most popular ballet scores, featuring the Pacific Northwest Ballet Orchestra direct from McCaw Hall. Tune in for a live broadcast of PICTURES AT AN EXHIBITION on Saturday, June 3 at 7:30 pm. Only on KING FM, 98.1 fm or online at KING.org/listen. YOUNG PATRONS CIRCLE NIGHT Friday, June 9 Join members of PNB’s Young Patrons Circle (YPC) in an exclusive lounge for complimentary wine and coffee before the show and at intermission. YPC is PNB’s social and educational group for ballet patrons ages 21 through 39. YPC members save up to 40% off their tickets. For more information, visit PNB.org/YPC.
  3. Part 1 of the press release: PACIFIC NORTHWEST BALLET PRESENTS Featuring PNB premieres of works by GEORGE BALANCHINE – JEROME ROBBINS – ALEXEI RATMANSKY June 2 – 11, 2017 Marion Oliver McCaw Hall 321 Mercer Street, Seattle Center Seattle, WA 98109 June 2 – 3 at 7:30 pm June 2 at 2:00 pm June 8 - 10 at 7:30 pm June 11 at 1:00 pm SEATTLE, WA – For the sixth program of its 44th season, Pacific Northwest Ballet presents the PNB premieres by three of the most significant names in ballet: George Balanchine’s classical La Source is a hybrid work, drawn from several earlier ballets and first presented as a showcase for the legendary dancer Violette Verdy. Opus 19/The Dreamer, by Jerome Robbins, is a much darker work, an emotional and physical marathon with enormous awards for audience and artist alike. PNB Artistic Director Peter Boal performed Opus 19/The Dreamer for most of his career as a dancer with New York City Ballet, and he will be staging it along with La Source for their PNB debuts. The evening comes to a close with Alexei Ratmansky’s ravishing Pictures at an Exhibition. Like the ever-changing Kandinsky watercolors that set the stage, ten dancers move in varying combinations to display a plethora of emotion, from raw and wild to solemn and soulful in this work, which will be staged for PNB by the acclaimed former NYCB principal dancer Wendy Whelan. PICTURES AT AN EXHIBITION runs for seven performances only, June 2 through 11 at Seattle Center’s Marion Oliver McCaw Hall. Tickets start at $30. For more information, contact the PNB Box Office at 206.441.2424, in person at 301 Mercer Street, or online at PNB.org. The line-up for PICTURES AT AN EXHIBITION will include: La Source (PNB Premiere) Music: Léo Delibes (excerpts from La Source, 1866, and Le Pas des Fleurs, 1867, arranged as Naila Waltz, c. 1880s) Choreography: George Balanchine © The George Balanchine Trust Staging: Peter Boal Lighting Design: Ronald Bates, recreated by Randall G. Chiarelli Running Time: 24 minutes Premiere: November 23, 1968, New York City Ballet George Balanchine loved the music of Léo Delibes, considering him one of the three great composers for ballet, along with Tchaikovsky and Stravinsky. Balanchine returned to the music of Delibes throughout his career. La Source is a hybrid work, drawn from several earlier Balanchine ballets and first presented in 1968 as an extended pas de deux for Violette Verdy and John Prinz. The legendary Verdy was a seasoned artist with piquant technique and theatrical flair, while Prinz was just coming into his own as a dancer. In 1969, Balanchine added dances for a second ballerina and eight women from his 1965 Pas de Deux and Divertissement (which itself was an extension of his 1950 Sylvia: Pas de Deux) and a revision of his “Naila Waltz,” choreographed in 1951 as part of Music and Dance, a presentation by the National Orchestral Society at Carnegie Hall. Reminiscing about La Source, Verdy wrote, “Mr. B’s idea of France in La Source was almost a platonic ideal of the French. It was France through the eyes of an educated person from St. Petersburg who remembered how much France and Russia had in common and how much France brought to Russia with Catherine and the tsar and all the artists that came to St. Petersburg—Petipa, Didelot, the builders, and the constructors. The city is built like a beautiful theater, like Paris is a theater. …For me, dancing La Source was being home once more. The movements Mr. B gave me and that music—they are like family, they are in my genes.” The 2017 Pacific Northwest Ballet premiere of George Balanchine’s La Source is generously underwritten by Bob Benson. The works of George Balanchine performed by Pacific Northwest Ballet are made possible in part by The Louise Nadeau Endowed Fund. Opus 19 / The Dreamer (PNB Premiere) Music: Sergei Prokofiev (Violin Concerto No. 1 in D Major, Op. 19, 1915-1917) Choreography: Jerome Robbins Staging: Peter Boal Costume Design: Ben Benson Lighting Design: Jennifer Tipton, recreated by Perry Silvey Running Time: 23 minutes Premiere: June 14, 1979, New York City Ballet Jerome Robbins choreographed Opus 19/The Dreamer for Mikhail Baryshnikov in 1979, at the end of the single season the famed Russian dancer was a member of New York City Ballet before becoming artistic director of American Ballet Theatre in 1980. The double title refers both to the ballet’s music—Prokofiev’s first violin concerto, composed on the eve of the October Revolution—and its moody protagonist. The score is haunting, dreamy, and ethereal. The dance recalls the atmosphere of earlier Robbins ballets, Facsimile (1946) and Age of Anxiety (1950), both with music by Leonard Bernstein, which explored the psychology of the human experience and whose companions walked a grey line between reality and imagination. Baryshnikov, who partnered ballerina Patricia McBride at the premiere, has suggested an autobiographical tone for Robbins’ dreamer: “He’s a bit of an outsider, a bit of a loner, a bit of a thinking man; there’s a bit of action, a bit of unrealized romance, which is very much Jerry’s life.” Peter Boal danced the role of the Dreamer and chose the ballet for his retirement performance at New York City Ballet in June 2005, partnering Wendy Whelan. He remembers, “Jerry and I worked for endless hours on Opus. The ballet was very dear to him and he entrusted it to very few after Misha. During rehearsals, he spoke of the ethnicity of the music and, in turn, the choreography, referring to Russian peasants and Slavic folk dances. The movements were at times grounded and tribal and alternately manic and meditative. I felt I always gave 100% in everything I danced, but for Opus Jerry wanted more—a level of physicality and commitment that was almost beyond human ability.” The 2017 Pacific Northwest Ballet premiere of Jerome Robbins’ Opus 19/The Dreamer is generously underwritten by Marcella McCaffray. Opus 19/The Dreamer is performed by permission of the Robbins Rights Trust. Pictures at an Exhibition (PNB Premiere) Music: Modest Mussorgsky (1874) Choreography: Alexei Ratmansky Staging: Wendy Whelan Costume Design: Adeline André Lighting Design: Mark Stanley Projection Design: Wendall K. Harrington, using Wassily Kandinsky’s Color Study: Squares with Concentric Circles (1913) Piano Soloist: Allan Dameron Running Time: 35 minutes Premiere: October 2, 2014, New York City Ballet Alexei Ratmansky is quickly becoming the most prolific and diverse choreographer working in classical ballet today. From his painstaking reconstructions of 19th-century classics by Marius Petipa to his revitalization of Soviet-era story ballets to his growing repertory set to the music of Dmitri Shostakovich to his collection of works made for American Ballet Theatre (ABT, where he is artist in residence), New York City Ballet, Miami City Ballet, and elsewhere, Ratmansky is everywhere. Any given night might see performances of his works by two or three or more companies around the globe. Pacific Northwest Ballet has three of them: Concerto DSCH (from the Shostakovich set), Don Quixote (a Petipa classic), and now Pictures at an Exhibition, an utterly unique dance made for New York City Ballet in 2014 and set to Modest Mussorgsky’s signature work in its original version for solo piano. Writing in The New York Times after the ballet’s premiere, critic Alastair Macaulay stated, “‘Pictures at an Exhibition’ is surely the most casually diverse work Mr. Ratmansky has created, but it gathers unstoppable momentum. The 10 dancers—five women, five men—started out in informal home-theater mood, almost as if they were playing charades. Some dances, including the first solo, had a wild, improvisatory, part-stumbling, part-inspired quality. (The tailor-made nature of the ballet’s solos reflects one of Mr. Ratmansky’s greatest gifts: Dancers are vividly, individually, intimately revealed.) In certain numbers the dancers—here on all fours, there gesturing—seemed to enact or refer to private stories. Other sections shifted toward a classicism of long lines and academic steps. Some ensembles were largely about camaraderie; others about geometry, harmony, meter.” Dance writer Michael Popkin explained further: “Not just a rendition in dance of Mussorgsky’s famous work of the same name, the ballet was also functionally a tribute and apotheosis for NYCB’s retiring star, Wendy Whelan” (danceviewtimes). Pictures at PNB marks Whelan’s first project as a répétiteur, or stager, the individual who teaches an existing ballet to a new cast. She will have worked with PNB’s dancers for a total of three weeks heading into the Company premiere on June 2. Ratmansky himself, on a brief break from ABT’s New York season, spent two days coaching the ballet after it had been taught. In addition to Whelan, Ratmansky’s team of collaborators includes renowned projection designer Wendall K. Harrington, whose visual musings on Wassily Kandinsky’s watercolor, Color Study. Squares with Concentric Circles, provide animated counterpoint to the dancers’ moves. Fashion designer Adeline André’s costumes echo Kandinsky’s colors and shapes, while Mark Stanley’s lighting joins all of these components to create a unified whole. Popkin continues: “The ballet tracks the score’s scenario, its action unfolding as a suite of dances before vibrantly colored backdrops. In this 1874 composition, Mussorgsky commemorates the premature death of a friend, the painter Viktor Hartmann, in a tone poem depicting a stroll through a gallery of his pictures. The music, in 16 short sections, alternates tone pictures of some canvasses with a repeating march—labeled ‘Promenade’—that recurs in different musical meters and lets you imagine that you’re strolling from picture to picture. As the promenades segue from conventional to elevated over the course of the entire piece, the composer’s emotion becomes evident: The work is increasingly shot through with his love for his friend and the artistic resolution of his grief.” The 2017 Pacific Northwest Ballet premiere of Alexei Ratmansky’s Pictures at an Exhibition is generously underwritten by Patty Edwards. Notes by Doug Fullington.
  4. Foster has danced Cinderella. Usually all of the Principal dancers are cast in Encores, if they are healthy, and Laura Tisserand won't be dancing, but that still leaves Dec, Foster, Murphy, Pantastico, and Rausch among the women and Cruz, Griffiths, Moore, Orza, and Tisserand among the men, and Lin-Yee, if he's recovered. Earlier this season, Laura Tisserand/Miles Pertl (replacing Bold) and Rachel Foster/Jerome Tisserand split the leads in "Three Movements." Rachel Foster/James Moore, Sarah Ricard Orza/Seth Orza, and Elizabeth Murphy/Jerome Tisserand split "Carousel (A Dance)." I'm guessing Bold will dance with Lesley Rausch in Cinderella. I wonder if it will be Pantastico and Bold in T&V.
  5. If you go to the Cincinnati Ballet YouTube channel, you can see excepts of some of Morgan's choreography. The latest one I know about is her "Nutcracker." https://www.youtube.com/user/WatchCBallet Wheeldon was an AD for a few minutes and seems to have run as far away from it as possible. Not that I'd expect him to have been supportive of female choreographers had he stayed on. Did he even want other choreographers to work with his dancers? (That was always Olivier Wevers' goal with Whim W'him, an early advocate of his fellow Belgian choreographer Lopez Ochoa.) Ratmansky was AD for half a decade at one of the most regressive, hierarchical arts institutions on the planet, and he's got scars to show from the battles he chose to fight, ie., removing Grigorovich ballets from the central place and casting/promoting a new generation and breaking hierarchy, much like Millepied tried at POB. I'm sure Ratmansky could be an AD again at the drop of a hat if that were his goal, but he's got such a better deal where he is now, a residency -- with health insurance! -- at a top company with its resources at his command and the dancers he wants, freelance opportunities all over the world, and a zeitgeist that supports his efforts to reconstruct Petipa ballets. The small incremental gain in being in Peter Martins', Kevin McKenzie's, or Nikolaj Hubbe's position wouldn't offset the loss of what he'd have to give up -- he said "no" to a similar position at NYCB when Martins wanted to restrict his outside work -- and the administrative functions/fundraising he'd have to do.
  6. [Admin beanie on] Criticizing Macaulay's writing and opinions is fine here. Criticizing him personally and psychoanalyzing him is not. [Admin beanie off]
  7. Victoria Morgan at Cincinnati Ballet. Tharp has done three new works for PNB between 2008 and 2013: Opus 111, Afternoon Ball, and Waiting at the Station. She did a one year artistic residency in Seattle. Her availability is limited when she's working on her own projects, like Broadway work that subsidizes other work. However, the chances that she would have gotten ballet commissions at ABT or NYCB had she not had success as a modern choreographer with her own company I think are slim to none.
  8. If that were case, I'd expect there to be a lot of girls choreographing young, but then not getting commissions as they grew older. I've never seen evidence that this is true, or that after moving from the junior corps years when time is scarce, that they've gone back to it. I would think that Twyla Tharp would be in a list of Top 10 by commission. The Top 10 list would almost certainly consist of freelancers, since house choreographer ADs like Martins and Tomasson generally don't receive them, and their work isn't often done outside their home companies. Similarly resident choreographers who haven't branched out that much, at least in the beginning.
  9. I just received the press release (emphasis mine): PACIFIC NORTHWEST BALLET presents BEYOND BALLET A Town Hall on the State of Ballet and Diversity 7:00 pm, Wednesday, May 3, 2017 The Phelps Center 301 Mercer Street at Seattle Center Seattle, WA 98109 SEATTLE, WA – On Wednesday, May 3, 2017, Pacific Northwest Ballet (PNB) will host BEYOND BALLET, a Town Hall-style conversation which will investigate aesthetics, diversity, equity, and the efforts to redesign arts institutions. PNB, Spectrum Dance Theater, and Memoirs of Blacks in Ballet (MOBB) invite attendees to share their thoughts, feelings and experiences in a Town Hall format. Ballet—its aesthetics, lack of diversity and equity—is the springboard from which we begin to examine these issues in the theater and arts at large. This forum will be an open study group for organizations participating in the Seattle Office of Arts & Culture Racial Equity Learning Cohorts, part of the Race and Social Justice Initiative (RSJI), the City’s commitment to eliminate racial disparities and achieve racial equity in Seattle. BEYOND BALLET will take place at 7:00 pm on Wednesday, May 3, 2017 at PNB’s Phelps Center, 301 Mercer Street at Seattle Center. This is a free event, however space is limited and registration is required at PNB.org/BeyondBallet. Panelists for BEYOND BALLET include Peter Boal, Artistic Director of PNB; Donald Byrd, Artistic Director of Spectrum Dance Theater; Erica Edwards, Director of Community Engagement at The Joffrey Ballet; Kiyon Gaines, former PNB soloist and PNB School faculty member; and Andrea Long-Naidu, ballet instructor for Dance Theatre of Harlem and CityDance Conservatory. The evening will be moderated by Theresa Ruth Howard, founder and curator of MOBB. While the format of the program will allow for diverging conversations, perspectives and stories from the field, planned topics for the evening include: · The History of Blacks in Ballet: A Legacy as Long as America · The Aesthetics of Ballet: What do Classicism and Tradition “Look” Like? · Teachers and Administrators of Color: Why They Are an Essential Component of Diversification BEYOND BALLET is an important part of PNB’s ongoing work in the area of racial equity and inclusion. This community event is made possible with generous support from Bank of America. TICKET INFORMATION This is a free event, however seating is limited and subject to availability: Advance registration is required at PNB.org/BeyondBallet. ABOUT THE PANELISTS (For complete bios, visit PNB.org/BeyondBallet.) Theresa Ruth Howard (moderator) began her professional dance career with the Philadelphia Civic Ballet Company at the age of twelve. Later she joined the Dance Theatre of Harlem where she had the opportunity to travel extensively throughout the United States, Europe and Africa. In 2004 she became a founding member of Armitage Gone! Dance, and was a guest artist with Complexions Contemporary Ballet’s 10th Anniversary season. Ms. Howard has been a member of the faculty at the Ailey School for over 18 years. As a writer, she has contributed to Pointe andDance magazines, among others. Her articles about body image prompted her to create mybodymyimage.com, which endeavors to help build positive body image through respect, acceptance, and appreciation. Ms. Howard launched MoBBallet.org, the digital archive for Memoirs of Blacks in Ballet. One of MOBB’s first projects was to help organize and facilitate the first-ever audition for Black Female Ballet dancers for major ballet organizations at the 2015 International Association of Blacks in Dance conference. Peter Boal was raised in Bedford, New York. At the age of nine, he began studying ballet at the School of American Ballet, the official school of New York City Ballet. Mr. Boal became a member of NYCB’s corps de ballet in 1983 and became a principal dancer in 1989. In 2005, he retired from NYCB after a 22-year career with the company. Mr. Boal was also a full-time faculty member at the School of American Ballet from 1997 to 2005. In 2003, he founded Peter Boal and Company, a critically-acclaimed chamber ensemble. In 1996 Mr. Boal received the Dance Magazine Award, and in 2000 he received a New York Dance and Performance Award (Bessie) for his performance in Molissa Fenley’s State of Darkness. In 2005, upon his retirement from NYCB, Mr. Boal became Artistic Director of Pacific Northwest Ballet and Director of PNB School. Donald Byrd‘s career has been long and complex and his choreographic and theatrical interests are broad. The New York Times describes him as “a choreographer with multiple personalities…an unabashed eclectic.” Mr. Byrd, a Tony Award-nominated (The Color Purple) and Bessie Award-winning (The Minstrel Show) choreographer, became Artistic Director of Spectrum Dance Theater in 2002. From 1978 to 2002, he was Artistic Director of Donald Byrd/The Group, a critically-acclaimed contemporary dance company - founded in Los Angeles and later based in New York - that toured extensively, both nationally and internationally. He has created over 100 dance works for his own groups as well as the Alvin Ailey American Dance Theater, Philadelphia Dance Company (Philadanco), PNB, The Joffrey Ballet, Dance Theatre of Harlem, Oregon Ballet Theatre, and many others. His non-dance company work has been with some of the most prestigious theater and opera companies in the US, including New York Shakespeare Festival/Public Theater, La Jolla Playhouse, San Francisco Opera, New York City Opera, and more. Erica Lynette Edwards joined The Joffrey Ballet after being one of the first dancers in the Arpino Apprentice program in 2000. She trained at the Salt Creek Ballet School where she performed major roles in their pre-professional ballet company. Ms. Edwards believes that it is important to share the experience of dance with others, and she does this by teaching at various community, school, and outreach programs throughout Chicagoland. In 2001, the Chicago Sun-Timesspotlighted her as a “Black History Maker,” and in 2002 she was The Joffrey’s nominee for the Princess Grace Foundation Award. In 2003, Ebony magazine featured Ms. Edwards as a Young Leader of the Future in the Arts. She retired in 2014 after a 15-year career as a ballerina and is now The Joffrey’s Director of Community Engagement: She is responsible for managing all Joffrey arts education programs through Chicago Public Schools and the community to increase access, awareness, and appreciation for the art of dance. Kiyon Gaines is from Baltimore, Maryland. He trained at Baltimore School of the Arts, Pittsburgh Ballet Theatre School, the School of American Ballet, and Pacific Northwest Ballet School. He joined PNB as a member of the corps de ballet in 2001 and was promoted to soloist in 2012. He retired in 2015 and currently teaches on the faculty of PNB School, works with PNB’s DanceChance program to bring classical dance training to the students of Seattle Public Schools, and has been program manager of PNB’s annual NEXT STEP choreographers’ showcase since 2012. Mr. Gaines is also an established choreographer: Since creating his first work in 2001, he has made ballets for PNB, PNB School, New York Choreographic Institute, Central Pennsylvania Youth Ballet, Cornish College of the Arts, and Spectrum Dance Theater. Mr. Gaines has been resident choreographer at Ballet Arkansas since 2015. Andrea Long-Naidu was born in Philadelphia, Pennsylvania, trained with Pennsylvania Ballet School, the American Ballet Theatre School, and School of American Ballet, and began her career dancing with New York City Ballet where she remained for over eight years before joining Dance Theater of Harlem. She has received critical acclaim dancing the works of George Balanchine, Robert Garland, Dwight Rhoden, Jerome Robbins, and others. Internationally renowned following thirteen years as a principal dancer at DTH, she continues to inspire in an arduous profession. She has danced as a guest artist with many regional ballet companies, and is considered an exemplary and demanding ballet instructor. Ms. Long-Naidu sees a growing respect for the art of ballet in popular culture and joins in encouraging such groups as Aesha Ash’s The Swan Dreams Project, with a goal to increase minority participation in ballet. She is married to Laveen Naidu, former Executive Director of DTH, and now Artistic Director of BalletNova. The couple continue to support the development of Dance Theatre of Harlem. For complete bios, visit PNB.org/BeyondBallet.
  10. Misty Copeland is on a book tour during ABT's week off: her newest book is "Ballerina Body: Dancing and Eating Your Way to a Leaner, Stronger and More Graceful You." We were lucky to hear her speak at Meany Hall at the University of Washington; her appearance was organized by the UW Alumni Association. It was packed, and many people, including lots of young dancers, had her book. Professor Valerie Curtis-Newton, the Head of Performance, Directing, and Acting at the UW School of Drama interviewed Copeland and selected questions that had been submitted. Copeland must have been asked many of the same questions many times, but her answers sounded spontaneous and fresh. She spoke with a lot of emotion and passion, and it was a privilege to be there.
  11. I interpreted Peck as meaning that if girls could conceive of themselves as choreographers from a young age, they would practice choreography, and that there would be more female choreographers. My first thought was that it is ironic that from the earliest age, girls have an overwhelming number of female examples and role models as dance makers, because their primarily female teachers are constantly making dances for their recitals and shows, yet this doesn't translate into turning girls into choreographers. Then I wondered if that they associate dance-making with teaching, as opposed to dancing, and that this becomes a negative.
  12. "Put your hands up, and back away from the keyboard."
  13. I just got an email invite to the panel on a blind mailing list from PNB, and although the registration form still has "Organization" listed as a mandatory registration field -- I wrote "Audience" -- it looks like it's not limited to members of the organizations referenced in the press release.
  14. Is it possible to view the NYPL videos in the library itself? Or do the videos have to be checked out?
  15. I've been shaking my head so much after reading that article that I'm still dizzy. Or, as my grandmother would have said, "Oy, yoy, yoy, yoy, yoy." But I do agree with the comment that it's not Peck's or Ratmansky's or Wheeldon's -- since he decided to quit his own company -- question to answer as much as it's the ADs who are hiring and encouraging choreographers and the programs that are developing choreographers.
  16. Karin von Aroldingen also wrote for "Ballet Review" describing how Balanchine would come to her apartment, look in the fridge, and make soup out of what was there. If I remember correctly, she wrote that he thought that shriveled old neglected vegetables made the best soup. The three recipes she wrote out were for three soups based on "Jewels," one green, one red, and one white. I remember that he baked his beets first for the borscht, and I found that it can make the soup.
  17. I misunderstood him: I thought the answers themselves are what he was disputing when he talked about texting between rehearsals. It looks like he's learning the hard way not to respond on demand.
  18. I'm not sure I caught this at the exact start they showed the film into to "Carousel (A Dance)," but Jacques d'Amboise's partnering is superb, and Susan Lucky must have a core of steel:
  19. PNB's "Ballet on Broadway" program is right around the corner. Here is the press release: Part 1: Another op’nin’ of another show! Pacific Northwest Ballet presents Featuring works by GEORGE BALANCHINE – CHRISTOPHER WHEELDON – JEROME ROBBINS April 14 – 23, 2017 Marion Oliver McCaw Hall 321 Mercer Street at Seattle Center Seattle, WA 98109 April 14 and 15 at 7:30 pm April 15 at 2:00 pm April 20 – 22 at 7:30 pm April 23 at 1:00 pm SEATTLE, WA – Come on along and listen to the lullaby of Broadway: Pacific Northwest Ballet takes its audiences on a trip down the Great White Way – while staying right here in Seattle – withBALLET ON BROADWAY, the fifth offering of PNB’s 2016-2017 season. BALLET ON BROADWAY sets the stage with three crowd-pleasing hits, George Balanchine’s Slaughter on Tenth Avenue (from the musical On Your Toes), Christopher Wheeldon’s Carousel (A Dance), and Jerome Robbins’ West Side Story Suite. Packed with Tony Award-winning music and choreography, plus sets, costumes, the mighty PNB Orchestra and – of course – incomparable dancing, BALLET ON BROADWAY promises to be boffo blockbuster entertainment and April’s most magical, musical night on the town. BALLET ON BROADWAY runs for seven performances only, April 14 through 23, 2017 at Seattle Center’s Marion Oliver McCaw Hall. Tickets start at $30. For more information, contact the PNB Box Office at 206.441.2424, in person at 301 Mercer Street, or online at PNB.org. Join members of PNB’s Young Patrons Circle for Backstage Bash: Curtain Call, an after-party immediately following the Friday, April 21 performance of BALLET ON BROADWAY. Doors will open at 10:00 for an event filled with entertainment, live music, and an onstage DJ. Tickets to this 21+ event are available through the PNB Box Office. See “Special Events” (below) for more information. The line-up for BALLET ON BROADWAY will include: Slaughter on Tenth Avenue Music: Richard Rodgers (from On Your Toes, 1936), orchestrated by Hershey Kay Choreography: George Balanchine © The George Balanchine Trust Staging: Susan Pilarre Scenic and Lighting Design: Holly Hynes Running Time: 23 minutes Premiere: April 13, 1967; New York City Ballet PNB Premiere: September 20, 2008 Balanchine originally choreographed Slaughter on Tenth Avenue in 1936 for the musical On Your Toes, in which Ray Bolger played The Hoofer and Tamara Geva portrayed The Stripper. The show was a parody of Broadway, Russian ballet, and the mob, in which a jealous Russian premier danseur hires a mobster to kill a rival during the premiere of a new ballet, Slaughter on Tenth Avenue. The ballet itself tells the story of a tacky strip joint and the customer who falls in love with the Big Boss’ girl. The premier danseur arranges for the hoofer to be killed, but the girl saves him. At Balanchine’s insistence, On Your Toes was the first Broadway musical to credit staged dances as “choreography,” and is considered the first musical in which the dances were integrated into the plot, performed by dancers who were also dramatic characters. On Your Toes was the first of four Rodgers and Hart musicals choreographed by Balanchine. The others were Babes in Arms, I Married an Angel, and The Boys from Syracuse. In 1967, Balanchine mounted Slaughter on Tenth Avenue as a separate work for New York City Ballet. Casting Suzanne Farrell and Arthur Mitchell in the lead roles, Balanchine followed the original ideas but made new choreography. The 2008 Pacific Northwest Ballet premiere of George Balanchine’s Slaughter on Tenth Avenuewas generously underwritten by Dan & Pam Baty. The works of George Balanchine performed by Pacific Northwest Ballet are made possible in part by The Louise Nadeau Endowed Fund. Carousel (A Dance)© Music: Richard Rodgers (“Carousel Waltz” and “If I Loved You” from Carousel, 1945), arranged and orchestrated by William David Brohn Choreography: Christopher Wheeldon Costume Design: Mark Stanley Running Time: 15 minutes Premiere: November 26, 2002; New York City Ballet PNB Premiere: March 12, 2009 The musical Carousel, with music by Richard Rodgers and lyrics by Oscar Hammerstein II, premiered in 1945. The show won acclaim for its many hit musical numbers and for its innovative plot about the ill-fated marriage of young millworker Julie Jordan and carnival barker Billy Bigelow. Christopher Wheeldon’s salute to Rodgers includes the composer’s melodic and evocative “Carousel Waltz” and “If I Loved You” in a reverie that distills Carousel’s carnival atmosphere as well as its theme of tragic romance. A large corps de ballet creates a stylized carousel on stage, their movements often separating the lovers. With a simple hint at the story, Wheeldon catches the sweep and emotion of the music and the poignant, doomed nature of the lead couple’s relationship with a tender and romantic pas de deux. Carousel (A Dance) was the fourth of five ballets by Christopher Wheeldon to be added to PNB’s repertory, following Polyphonia (acquired in 2007), Variations Sérieuses (2008), and After the Rain pas de deux (2008). PNB subsequently commissioned Wheeldon’s Tide Harmonic (2013). The 2009 Pacific Northwest Ballet premiere of Christopher Wheeldon’s Carousel (A Dance) was generously underwritten in part by PNB’s Board of Trustees, Advisory Board, Members of the Barre, and Stowell Society. West Side Story Suite Music: Leonard Bernstein (“Prologue,” “Something’s Coming,” “Dance at the Gym,” “Cool,” “America,” “Rumble,” and “Somewhere Ballet” from West Side Story, 1957) Lyrics: Stephen Sondheim Choreography: Jerome Robbins with Peter Gennaro Staging: Robert LaFosse and Jenifer Ringer Vocal Coaching: Joan Barber Scenic Design: Oliver Smith Costume Design: Irene Sharaff Lighting Design: Jennifer Tipton Running Time: 36 Minutes Premiere: May 18, 1995; New York City Ballet PNB Premiere: March 12, 2009 With a book written by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim, and choreography by Jerome Robbins, the musical West Side Story is one of the most popular theatrical productions based on William Shakespeare’s Romeo and Juliet. Set on Manhattan’s Upper West Side in the mid-1950s, West Side Story explores the rivalry between two teenage gangs of different ethnic and cultural backgrounds. Young Tony, who belongs to the native Manhattan gang, the Jets, falls in love with Maria, the sister of the leader of the rival Puerto Rican gang, the Sharks. The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in American musical theater. The original 1957 Broadway production, directed and choreographed by Jerome Robbins, marked Stephen Sondheim’s Broadway debut as lyricist. The production earned a Tony Award in 1957 for Robbins’ choreography. The musical led to the innovative, award-winning 1961 musical film, winning 10 Academy Awards out of 11 nominations, including Best Director, for Robbins and Robert Wise, and Best Picture. Jerome Robbins extracted a sequence of dances from West Side Story to make this suite for New York City Ballet in 1995. The 2009 PNB premiere of Jerome Robbins’ West Side Story Suite was generously underwritten by Marcella McCaffray, Lyndall Boal, Carl & Renee Behnke, and Aya Stark Hamilton.
  20. I misspoke: I was responding to your comment, "there's no way to misinterpret that," when he's saying that was the opposite of what he said/texted. Either he was quoted accurately -- exactly or substantially -- in response to that exact question, and is lying about it now, or not.
  21. It wouldn't be the first time, and not always in bad faith by the interviewer, since I believe they still have editors, although I might be wrong. I'm not arguing that this happened, but responding to your question.
  22. If his answer wasn't directly to that question, but to a followup question or comment, ie not in exact context, then it would be a just complaint.
  23. You need to request videos in advance. I learned this the hard way last Fall, when I was unexpectedly in Manhattan for the day and thought I could spend the afternoon with "Liebeslieder Walzer."
  24. Rebecca King and Michael Sean Breeden interviewed Patricia Barker for their podcast, "Conversations on Dance." http://tendusunderapalmtree.com/41-patricia-barker-artistic-director-grand-rapids-ballet/