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The Robbins is part of the Robbins Festival, in which PNB is one participant.  The two PNB programs are all contemporary works, three of which -- Tharp's "Waiting at the Station," (2013), Lang's "Her Door to the Sky," (2016) and Wheeldon's "Tide Harmonic" (2013) were made for PNB.  The others are Cerrudo's "Little Mortal Jump," (2012, Hubbard Street Dance Chicago, 2016 PNB), Millepied's "Appassionata" (2016, Paris Opera Ballet as "La nuit s'acheve", 2016, PNB), Pite's "Emergence" (2009, National Ballet of Canada, 2013, PNB), and the markedly ancient, Forsythe's "Slingerland Duet" (1989, Ballett Frankfurt, 2015, PNB) and Dove's "Red Angels" (1994, NYB, 2005, PNB).

All of the non-Robbins works except the Lang, which was performed last November, will be performed by PNB in March, April, and June and should be well-rehearsed.  Opus 19: The Dreamer was performed last June.

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As I understand it, the presenter didn't want PNB to perform Balanchine -- when you're working with an outside producer, there are often compromises.  I'm impressed that they're taking the Tharp, the Cerrudo and the Pite, all with those big set pieces!

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Moira Macdonald wrote a terrific piece for Seattle Times about the logistics of packing for the Paris tour.

I never thought about this, wondering how the train for "Waiting at the Station" was going to get shipped, but, doh:

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As it happens, PNB’s set pieces are accustomed to travel: Most of them are constructed at the company’s scene shop in Fremont (or in another city), and need to be broken down to be transported to McCaw Hall. So that’s basically what’s happening for the tour, explained technical director Norbert Herriges — just on a much bigger scale. That enormous train from “Waiting at the Station” is easily taken apart; as is the tunnel for “Emergence” and the cubes for “Little mortal jump.”

I think my favorite things the staff is packing are:

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Raspberry candies, to which the entire company is addicted. Visine.

 

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