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Giselle May 30-31; June 5-8Plus Events


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#16 Helene

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Posted 26 May 2014 - 12:49 AM

Not according to the schedule.  I thought there was a third piece, because I think I remember Peter Boal saying in a Q&A that the new Justin Peck would get its first performances at the Joyce and their Seattle premiere in November.  I don't know if Peck has decided on the structure or how many dancers he'll use or which ones, but the composer on the PNB website is listed as George Antheil.

 

It would be great to get good reviews from NYC to sell the November "Director's Choice" program, especially since mixed bills don't sell as well as full-lengths.


Edited by Helene, 26 May 2014 - 10:30 AM.
Lame phone typing


#17 sandik

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Posted 26 May 2014 - 10:17 AM

That's right -- the Peck gets shown in NYC before it comes here. 



#18 Helene

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Posted 27 May 2014 - 03:22 PM

A lovely photo of Giselle's friends in their brand new costumes tweeted by PNB:

https://twitter.com/...0542208/photo/1

 

I wish there were captions, because I'm only sure of four of six, with a guess at a fifth:  From left-to-right:

 

Jahna Frantziskonis, Liora Neuville, Elizabeth Murphy? (or one of the PD's I sometimes think is Elizabeth Murphy at first), Amanda Clark, Angelica Generosa, and a dancer I can't recognize from this photo (apologies.  Elle Macy has a similar smile and dark hair, but think she's even more taller than Generosa.)

 

The comment on the third photo identifies the two dancers as Murphy and Macy:

https://www.facebook...?type=3

(All three photos have the same URL.)



#19 Helene

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Posted 28 May 2014 - 09:55 AM

The fourth photo added to the album shows the Wllis costumes.



#20 Helene

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Posted 28 May 2014 - 12:43 PM

Sweet, including Seth Orza with his daughter (I'm assuming) in the far right background:

https://twitter.com/...7964288/photo/1



#21 sandik

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Posted 28 May 2014 - 02:36 PM

And one of the men's costumes in the background.  We just re-watched the Ken Burn's Civil War series, and so that early-mid 19th century shape looks very familiar to me.



#22 Helene

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Posted 28 May 2014 - 09:11 PM

Les hommes:

 

https://twitter.com/...8789376/photo/1

 

My guesses (l-r) are Raphael Bouchard, Matthew Renko, Eric Hipolito Jr., Joshua Grant, Andrew Bartee, Ryan Cardea, and Kyle Davis.  It may be Imler who is peeking out of the background between Hipolito Jr. and Grant.

 

The neat thing about the boots is that they are top sewn to the men's ballet slippers.



#23 Helene

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Posted 29 May 2014 - 08:41 AM

Next photo posted is the first glance at Giselle and Albrecht's Act II costumes:  Carla Korbes, Jerome Tisserand, and Kaori Nakamura.



#24 sandik

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Posted 29 May 2014 - 03:38 PM

I’ve meant to post a little something about the education events the company has been presenting leading up to their production of Giselle.  I went to the open coaching session a couple weeks ago, which was very interesting.  Despite having ‘grown up’ at NYCB, where ballet mime is generally confined to Nutcracker and a few other works, Peter Boal has been working hard with the material, and had a very musical sense of timing as he demonstrated what he wanted in the first act moments with Giselle and Albrecht.  He also narrated some of the mime passages for the audience as they were being run, so that we got several iterations of “lord with a sword” as Wilfred tried to dissuade Albrecht from pursuing Giselle.  William Lin Yee was very effective in this – you could see him consider how best to approach Jerome Tisserand as Albrecht.

 

Kaori Nakamura and Carla Korbes were both very charming in their act 1 excerpts.  Some Giselles come out of their house already dying, but these two were much more lighthearted.  This made the contrast with their moments of weakness truly vivid, and their response to Berthe’s prediction very clear.  Boal spent time with both of them on Romantic era distinctions in port de bras and upper body position. 

 

Most of the session was devoted to act 1 – the new set by Jerome Kaplan has a slightly different layout than the set they borrowed from Houston in 2011, so it requires a little logistical adjustment.  But Boal did have Nakamura and Tisserand run the second act pas de deux, I think in part as a treat for us in the audience.  They were very lovely, with great phrasing and articulation – it was a pleasure to see them.

 

Along with this studio session, the company presented a seminar on the new sets and costumes, with Mark Zappone and Larae Hascall discussing costume design and construction, and Norbert Herriges talking about the sets.  We got to look at several of the costumes up close (and one inside-out, which was particularly interesting), leaf through the designs themselves and look at the model of the set.  There are several short videos on the PNB website about the designs and their construction – Herriges talked at length about the scene painting process, where they transfer designs from the artist’s renderings to actual backdrops.  Hascall and Zappone spoke about sourcing fabrics for the costumes – between the two of them working in Seattle and Kaplan working in Europe the costumes include fabrics from all over the place.  Taking inspiration from the work that Boal did with Doug Fullington and Marion Smith to recover as much of the original choreographic text for the production as they could, Kaplan looked to the year that the ballet was premiered for his designs – the artists are dressed as people from the 1830s might have been.  The designs are lovely, but they are also much more realistic than ballet costumes often are.  As of a couple weeks ago, they were still trying to decide if Albrecht would wear tights, or if he would wear a close-fitted version of the narrow pants that were fashionable in male clothing at the time (Boal referred to them as “pights.”)

 

PNB has been working to develop these education programs, and I think their efforts have really paid off.  Part of the goal is just to get people into the theater, by taking away some of the uncertainty that comes with a new experience, but beyond that, by giving us this view of the inner workings and backgrounds of the art form, they give us a chance to look deeper.  They take the work seriously, and they take their audience seriously.  And so we return the favor.



#25 Helene

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Posted 29 May 2014 - 07:19 PM

A new video, with small interview segments with Jahna Frantziskonis and Amanda Clark:  "'Giselle':  Being in the Corps de Ballet":

 



#26 sandik

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Posted 31 May 2014 - 08:49 AM

Just a quick note -- I was there last night for Nakamura (it was truly lovely) and on a very pragmatic note -- they've started running both Mercer and Roy as two-way streets, but local drivers haven't really gotten the message yet.  If you're driving, give yourself extra time and be wary when you're turning onto what used to be one-way streets.  If you're on public transport and walking, be really wary!

 

And yes, the James Taylor concert tonight at the Key Arena, along with the film festival, will make the neighborhood really busy.



#27 Altoklez

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Posted 31 May 2014 - 10:49 AM

In the Friends picture, https://twitter.com/...0542208/photo/1, the dancer on the right is PD Beila Ungar. 



#28 Helene

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Posted 02 June 2014 - 09:17 PM

Thank you for the ID:  when I saw the name "Ungar" in the costume books, I thought someone in the company had gotten married.



#29 Bored_on_Wall_Street

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Posted 04 June 2014 - 11:03 PM

We stayed on in Seattle after a business trip to see Giselle on opening night, hoping to see something different from what ABT and other companies serve up, and we were not disappointed.  While the production seems to contain elements that are way more modern than would have been in reflected in the 19th century materials relied on by Boal and co in putting this shindig together, it was obvious from early on--with the leg work and tempo, this was a different beast, from a different era, from what we normally see.  The mime doesn't fully work on some, 1 or 2 of the corps were (kindly put) off, but  on many occasions, one kinda felt transported.  I've only seen PNB live 6 times or so, but they really seem to have unique energy and subtle velocity, and this production suits them well.     

 

More generally, as a NYC guy with benefit of NYCB and ABT, I still wish I could see more of PNB, and NOT just because I get to take a monorail to the theatre from downtown ;)



#30 Helene

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Posted 06 June 2014 - 02:31 PM

Lesley Rausch and Seth Orza in a short excerpt from Act II:




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