Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×


Senior Member
  • Posts

  • Joined

  • Last visited

Everything posted by sandik

  1. Let me see what I can figure out...
  2. This is so great, but it made me wonder if we'll see him move into some of those character parts -- the Von Rothbart bow and the Dr Coppelius bow made me laugh out loud.
  3. I'm seeing an interesting phrase in many of these announcements -- "closely held religious beliefs." Has anyone else seen this turn of phrase in local announcements? I'm wondering what that might entail, and how one would prove it as you filed into the theater.
  4. Another Dracula -- I think they used to do one by James Canfield, and now they're doing Ben Stevenson's.
  5. These are all so interesting -- very glad to see them get this support.
  6. Please -- someone here see the show and come back to report!
  7. He arrived here with his reputation preceding him, but she was an unexpected bonus -- watching her develop while she was here was such a pleasure. I know that they both have worked very hard to develop their post-performance lives, but I hope that they can manage to include some kind of coaching or teaching, in order to pass their skills on.
  8. The company has just announced that Seth Orza is retiring -- here is most of the press release: August 12, 2021 - SEATTLE, WA - Following a lifelong career in dance, Pacific Northwest Ballet principal dancer Seth Orza has announced his retirement from the company and his leap into a new venture as CEO and Founder of ORZA, a new shoe company committed to the mission of prolonging dancers' careers by helping to make their feet and bodies feel better. The company's first product, the ORZA PRO-ONE, has a launch scheduled for this winter. Seth Orza is from San Francisco, where he grew up in a dance family. All five of his siblings danced, as did his father and mother. He trained at San Francisco Ballet School and on full scholarship at the School of American Ballet. In 1999, he joined New York City Ballet as an apprentice: He was awarded the Mae L. Wien Award for Outstanding Promise that same year. He became a corps de ballet member in 2000, and in 2007 he was promoted to soloist. Mr. Orza joined Pacific Northwest Ballet as a member of the corps de ballet in 2007, was promoted to soloist in 2008 and to principal in 2010. As a tribute to Mr. Orza and his illustrious career, PNB has created a video celebration including numerous performance clips and testimonials. (Click here<https://youtu.be/bAQ2EavKC_0>.) "I am grateful to have had a very fulfilling 23-year professional dance career," said Mr. Orza in his announcement. "I began my career dancing with the New York City Ballet, where I was surrounded by many of the most talented dancers in the world. The time spent there shaped me as an artist, instilling a work ethic that I carry with me still. Joining Pacific Northwest Ballet offered further fulfillment and growth, allowing me the opportunity to pursue family life and other goals. As I say goodbye to this career, I am humbled by the opportunities I have had. I send much affection and respect to those who have guided and supported me and wish the next generation of dancer's fulfillment of all their wildest dreams." "Seth Orza has had a distinguished career as one of America's leading male dancers," said Kent Stowell and Francia Russell, PNB's Founding Artistic Directors, in a statement. "Greatly admired by colleagues, choreographers, directors, and audiences, he is ideally positioned to use his experience to benefit dancers. ORZA PRO-ONE shows unique promise to enhance dancers' careers and lessen the pain and injuries they have always had to cope with. "Seth is a man of great intelligence and energy," continued Stowell and Russell. "The commitment he has shown to developing ORZA is typical of him and guarantees a successful product, of benefit to dancers around the world." Being well-acquainted with the injuries that can sideline a dancer throughout their career, Mr. Orza founded ORZA to focus on dancers and their bodies, exploring new and progressive ways to deal with and manage the daily pains and injuries of a dancer. As Founder and CEO, Mr. Orza manages all aspects of the company, including managing the overall operations and resources of the company and acting as the main point of communication between investors and corporate operations. Mr. Orza began work on his shoe in 2010 and incorporated ORZA in 2013. He has continued to work to fill a unique need entirely unmet in the current marketplace-an innovative patented dance shoe that will perform for dancers in the 2000's like the innovative Nike shoe performed for runners in the 1970s. Every generation of dancers has tinkered with improvised solutions, all unsatisfactory, to try to address frustrating problems with the conventional shoe, such as overall bulkiness, folds, clumping, bunching, gaps, poor flexibility, slippage, the failure to flatter the foot, and most importantly, the lack of adequate structural support and shock absorbing cushioned padding. Until now, no dance manufacturer has tackled these problems, in fact, the dance shoe has remained basically unchanged since the 1920s. "Our mission at ORZA is to enhance the dancer's well-being-and the dancer's career-by reducing the chance of injury and enhancing dance performance," said Mr. Orza. "ORZA aims to achieve this with technologically sophisticated breakthrough dance products like the ORZA PRO-ONE dance shoe. We look forward to supporting current and future dance generations." For more information and to sign up for product alerts, visit the ORZA website at ORZAbrand.com. Early business developmental funding for ORZA was provided in part by Second Stage, PNB's career transition program for its company dancers. Conceived in 1999, Second Stage supports PNB dancers in achieving their goals following a career in dance. Its resources allow dancers to take classes, access mentors and vocation counseling, and receive grants. At its inception, only a handful of dancers actively planned for their career after dance. Since that time, Second Stage has provided nearly $1.1 million in grants to over 200 dancers. For more information, visit PNB.org<https://www.pnb.org/support/special-projects/second-stage/>. ADDITIONAL ARTIST BIO INFO Mr. Orza has danced leading roles in George Balanchine's Agon, Apollo, Coppélia (Franz), Diamonds, Emeralds, The Four Temperaments, George Balanchine's The Nutcracker® (Cavalier, Herr Drosselmeier), A Midsummer Night's Dream (Divertissement pas de deux, Demetrius, Theseus, Cavalier), Slaughter on Tenth Avenue (Hoofer), Square Dance, Stravinsky Violin Concerto, and Symphony in C; Peter Boal's Giselle (Albrecht); Val Caniparoli's The Seasons; David Dawson's A Million Kisses to My Skin; Ulysses Dove's Dancing on the Front Porch of Heaven, Red Angels, and Serious Pleasures; Nacho Duato's Jardí Tancat; William Forsythe's In the Middle, Somewhat Elevated and One Flat Thing, reproduced; Kiyon Gaines' Sum Stravinsky; Paul Gibson's Sense of Doubt, The Piano Dance, and Rush; Ronald Hynd's The Sleeping Beauty (Prince Florimund, Gold & Silver pas de trois); Jiri Kylian's Forgotten Land and Petite Mort; Jean-Christophe Maillot's Cendrillon (Father) and Roméo et Juliette (Romeo, Tybalt); Susan Marshall's Kiss; Benjamin Millepied's Appassionata; Mark Morris' Kammermusik No. 3; Justin Peck's Year of the Rabbit; Yuri Possokhov's RAkU (Samurai); Alexei Ratmansky's Concerto DSCH, Don Quixote (Basilio, Espada), and Pictures at an Exhibition; Jerome Robbins' Afternoon of a Faun, The Concert, Dances at a Gathering, Fancy Free, Glass Pieces, In the Night, Other Dances, and West Side Story Suite (Riff); Kent Stowell's Carmina Burana, Cinderella (Prince, Harlequin), Nutcracker (Prince), and Swan Lake (Prince Siegfried); Price Suddarth's Signature; Twyla Tharp's Brief Fling, In the Upper Room, Nine Sinatra Songs, Opus 111, and Waterbaby Bagatelles; and Christopher Wheeldon's After the Rain pas de deux, Carousel (A Dance), Polyphonia, Tide Harmonic, and Variations Sérieuses (Premier Danseur). He originated leading roles in Millepied's 3 Movements, Margaret Mullin's Lost in Light, Jonathan Porretta's Lacrymosa, Susan Stroman's TAKE FIVE...More or Less, and Price Suddarth's The Intermission Project. At New York City Ballet, Mr. Orza danced leading roles in Balanchine's Agon, Emeralds, The Four Temperaments, A Midsummer Night's Dream (Bottom, Lysander), The Nutcracker, Slaughter on Tenth Avenue, Symphony in C, and Tchaikovsky Piano Concerto No. 2; Peter Martins' Reliquary and Romeo + Juliet (Romeo); Robbins' Fancy Free, Fanfare, In Memory Of..., Interplay, and Piano Pieces; and Wheeldon's Carousel (A Dance), Evenfall, and Polyphonia. He originated featured roles in Albert Evans's Haiku, Robbins' NY Export: Opus Jazz (revival), Stroman's Double Feature, and Richard Tanner's Soirée. Mr. Orza has performed on some of the most prestigious stages in the world. In 2009, as a guest artist with San Francisco Ballet in Balanchine's Emeralds. In 2015, Mr. Orza performed in Sofia, Bulgaria, with the National Opera and Ballet of Bulgaria. In 2019, Mr. Orza was giving the opportunity to perform in Moscow, Russia, for the Benois De Le Dance at the Bolshoi Theatre.
  9. PNB is fortunate that their home theater has good video equipment -- the organization that runs McCaw Hall installed a new and improved set-up not long before the pandemic shut-down, so that they are able to make streaming quality video fairly easily (or at least more easily than other groups that need to create an entirely separate system to make it happen).
  10. Margaret Mullin received one in 2011 (as you point out, already a company member). Olivier Wevers received a PG award the same year as a choreographer (after he left the company to found his Whim W'him ensemble). Seattle-based choreographer Zoe Scofeld also received one in that same cohort -- it was a big year for Seattle-based dance artists. And alongside Edwards this year, Alice Gosti recieved an honorarium as a choreographer!
  11. And it was indeed all that. Yippee!
  12. I'm looking forward to reading the rest of Fjord's report.
  13. I'm not privy to all of PNB's hiring practices, but I know that they have made changes in their audition tours to attract more dancers of color, and in this last round they've hired two dancers who I imagine would pass your test.
  14. On the Boards does an excellent job with the project, which has given really impressive exposure to companies that wouldn't always have that kind of attention.
  15. So far I've seen a lot of promotion for Marquee TV, and for the PBS streaming stuff coming out of WNYC. But I'm not sure that a majority of companies will want to surrender some of their brand to a shared platform. Hoping I'm wrong!
  16. I certainly hope so -- that's not a "quick and done" process.
  17. Thanks for this -- Emergence is a significant work for them and if Muir was involved, that's to her credit. I'm really interested in seeing where she wants to take the company in the next stage.
  18. I think that we're going to see a shift in what some companies think of as "their audience," to include people who do not attend in person, but are very interested in watching online. I imagine that NYCB has been keeping the same kind of records that PNB has -- they've had digital subscribers from all 50 states, and a few foreign countries as well. There are few things I want to take with me from the pandemic, but this kind of access is certainly one of them. Oooh, hadn't thought about the timing aspect. Around here, since we're moving back into the theater in a fairly cautious way, the autumn season has a limited in-house schedule, but you can subscribe to streaming offerings in the autumn and possibly return to live performance after Nut. I'm just hoping that after all the experiments that different organizations have been running, they take that information and really use it.
  19. I think that companies that had good quality video in their vaults before things all went sideways were in a much better position to launch streaming programs that groups that would have to start from scratch. PNB was lucky -- they made their decision early, and their performance venue (McCall Hall) had recent upgraded their recording equipment, so the company didn't have to make that investment as well. And while I don't know details, I know that many rights holders (individual artists, trusts and foundations) have been very generous with their materials -- the desire to keep dance in front of its audience has loosened some of their control.
  20. A couple of thoughts, in response to a couple of different aspects of this thread. While a big chunk of the heritage repertory does offer gender specific roles, those works are only a part of most ballet company rep these days. Alongside the works listed above from the PNB repertory that are gender-free, they've consistently staged and commissioned works with ensemble roles that could be performed by men or women. It's a challenge for ballet companies today to maintain this wide variety of styles -- one of the things that makes it possible is that both men and women are trained far more broadly than they have in the past. Between theraputic practices and other kinds of cross-training, we've got more flexible men and stronger women -- two qualities that were rarely seen in previous generations. As far as diversity goes, PNB has been working to develop dancers of color through their school, and have hired some of those graduates as they came of age. Others have gone on to work in other ensembles. And while they've only had a few black dancers on the roster, they've had a number of API dancers at different levels in the company. In recent years, they've made some real strides with gender diversity on the administrative side -- their stage managers have usually been women, their previous business manager is a woman, the head of marketing and press is a woman, and the executive director is also a woman. This during a time when one of the general accusations leveled at ballet companies in the US was a lack of women in administrative positions. They've been a little later to the party with racial diversity in administration, but that's changing as well -- Peter Boal and Ellen Walker have been working with Theresa Ruth Howard on this, and I think they're sincere in their desire to make inroads on that challenge. Because of the pandemic, I haven't had the chance to see Ashton Edwards in person -- I just know their work through video. From what I see, they seem like a skilled and dedicated young dancer -- I don't know what the next couple of years will bring, but I'm very glad I'm going to get a chance to watch them develop. This coming season is going to be a series of experiments for companies around the world -- I'm sure there will be some major changes, and I'm sure I don't know what they'll be.
  21. While it's true that a local name will generally create a sense of local identity, it doesn't necessarily imply quality. It can encourage local support, though -- perhaps that's part of this change.
  22. Congratulations to Edwards, and lucky for us here to watch this new phase unfold. It's going to be a complex year for the field in general -- between the challenges of working within changing Covid guidelines, and the ongoing discussion about gender, race, equity, and inclusion throughout the arts, we're going to see some significant developments!
  • Create New...