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

Helene

Administrators
  • Posts

    36,098
  • Joined

  • Last visited

Posts posted by Helene

  1. That's sad news about both of them.

    I was able to hear Janis play at the renovated Pantages Theater in Tacoma, Washington, south of Seattle.  It was a wonderful concert.

    I heard Pollini several times in NYC, during a time when I expected to live there forever and took it for granted that I would show up to the piano series and hear a brilliant concert.

    May they both rest in peace.

  2. Here's the press release with more info, including Nutcracker, Beauty and the Beast (PNBS), and streaming subscriptions, to be available at a later date:

    Pacific Northwest Ballet Announces 2024-25 Season Line-Up.

    Centerpiece of PNB’s 52nd season to be premiere production of The Sleeping Beauty.

    Line-up includes Jean-Christophe Maillot’s Roméo et Juliette, along with works by George Balanchine, Marco Goecke, Edwaard Liang, Justin Peck, Crystal Pite, Jerome Robbins, and Twyla Tharp; and three world premieres from Jessica Lang, Price Suddarth, and Rena Butler. (Plus, of course, George Balanchine’s The Nutcracker®.)

     

    PNB Box Office is now taking orders for new and renewing season subscriptions.

    Tickets to individual performances, including The Nutcracker, begin July 23.

    Single tickets start at $38 ($29 for The Nutcracker).

    Full-season subscriptions start at $201.

    Four-show mini-season subscriptions start at $138.

    September 2024 – June 2025

    Marion Oliver McCaw Hall

    321 Mercer Street at Seattle Center

    Seattle, Washington

    March 15, 2024, SEATTLE, WA – Pacific Northwest Ballet Artistic Director Peter Boal has announced the line-up for PNB’s 52nd season, running from September 2024 through June 2025. The centerpiece of the season will be PNB’s world premiere production of The Sleeping Beauty, staged by Boal in collaboration with dance historian Doug Fullington and a design team with some of the leading artists of our time. Other highlights include the return of Jean-Christophe Maillot’s timeless Roméo et Juliette, a triple-bill of Balanchine classics, and Crystal Pite’s thrilling Emergence. Also in the line-up are works from Edwaard Liang, Justine Peck, Jerome Robbins, Kiyon Ross, and Twyla Tharp; and three world premieres from Jessica Lang, Price Suddarth, and Rena Butler. (Plus a family-matinee offering of Bruce Wells’ Beauty and the Beast, featuring the students of the PNB School; and, of course, George Balanchine’s The Nutcracker®.) The PNB Box Office is now open for subscription renewals and new subscriptions; tickets for individual programs go on sale July 23. PNB plans to continue offering a digital subscription as well so audiences across the country and around the world can attend the show: digital season subscriptions will go on sale at a later date. For further information, contact the PNB Box Office by phone at 206.441.2424, or online at PNB.org. As always, everything is subject to change.

    PACIFIC NORTHWEST BALLET’S 2024-25 SEASON LINE-UP

    Rep 1 – THE TIMES ARE RACING

    September 20 – 29, 2024

    The Veil Between Worlds

    Music: Oliver Davis

    Choreography: Edwaard Liang

    Costume Design: Mark Zappone

    Lighting Design: Reed Nakayama

     

    WORLD PREMIERE

    Choreography: Jessica Lang

     

    The Times Are Racing

    Music: Dan Deacon

    Choreography: Justin Peck

    Staging: Craig Hall

    Costume Design: Humberto Leon

    Lighting Design: Brandon Stirling Baker

     

    Rep 2 – ALL BALANCHINE

    November 1 – 10, 2024

    Square Dance

    Music: Antonio Vivaldi

    Choreography: George Balanchine © The George Balanchine Trust

    Staging: Peter Boal

     

    Prodigal Son

    Music: Sergei Prokofiev

    Libretto: Boris Kochno

    Choreography: George Balanchine © The George Balanchine Trust

    Staging: Peter Boal

    Scenic and Costume Design: Georges Rouault

    Lighting Design: Randall G. Chiarelli

     

    Stravinsky Violin Concerto

    Music: Igor Stravinsky

    Choreography: George Balanchine © The George Balanchine Trust

    Lighting Design: Randall G. Chiarelli

     

    George Balanchine’s The Nutcracker®

    November 29 – December 28, 2024 (NOTE: Not part of the 2024-25 Subscription season.)

    The Northwest’s favorite holiday tradition, George Balanchine’s The Nutcracker® is ready to delight one and all. From the liveliest lobby in town to the dazzling sets and costumes and unforgettable performances, The Nutcracker is an integral part of the holidays for ballet fans of all ages!

    Music: Peter Ilyich Tchaikovsky

    Choreography: George Balanchine © The George Balanchine Trust

    Staging: Judith Fugate with Peter Boal and Garielle Whittle

    Costume & Scenic Design: Ian Falconer

    Lighting Design: James F. Ingalls

     

    The Sleeping Beauty [World Premiere Production]

    January 31 – February 9, 2025

    Music: Peter Ilyich Tchaikovsky

    Choreography: Marius Petipa

    Production Concept and Additional Choreography: Peter Boal

    Staging: Doug Fullington

    Scenic Design: Preston Singletary

    Projection Design: Wendall K. Harrington

    Costume Design: Paul Tazewell

    Puppetry Design: Basil Twist

    Lighting Design: Reed Nakayama

    Associate Scenic Design: Charlene Hall

     

    Rep 4 – EMERGENCE

    March 14 – 23, 2025

    WORLD PREMIERE

    Music: Alfonso Perduto

    Choreography: Price Suddarth

    Costume Design: Mark Zappone

    Lighting Design: Reed Nakayama

     

    Afternoon of a Faun

    Music: Claude Debussy

    Choreography: Jerome Robbins

    Staging: Bart Cook

    Scenic and Lighting Design: Jean Rosenthal

    Costume Design: Irene Sharaff

     

    Mopey

    Music: C.P.E. Bach and The Cramps

    Choreography: Marco Goecke

    Staging: Sean Suozzi

    Costume Coordinator: Mark Zappone

    Lighting Design: David Moodey

     

    Emergence

    Music: Owen Belton

    Choreography: Crystal Pite

    Staging: Hope Muir, Anne Dabrowski

    Scenic Design: Jay Gower Taylor

    Costume Design: Linda Chow

    Lighting Design: Alan Brodie

     

    Bruce Wells’ Beauty and the Beast

    March 22 – 30, 2025 (NOTE: Not part of the 2024-25 Subscription season.)

    Featuring students of Pacific Northwest Ballet School.

    Music: Léo Delibes

    Concept and Choreography: Bruce Wells

    Staging: Ezra Thomson

    Scenic Design: Ryan Sbaratta

    Costumes: Atlanta Ballet Costume Shop

    Lighting Design: Reed Nakayama

     

    Roméo et Juliette

    April 11 – 20, 2025

    Music: Sergei Prokofiev

    Choreography: Jean-Christophe Maillot

    Original Staging: Gaby Baars, Bernice Coppieters, Giovanna Lorenzoni

    Scenic Design: Ernest Pignon-Ernest

    Costume Design: Jérôme Kaplan

    Lighting Design: Dominique Drillot

     

     Rep 6 – DIRECTOR’S CHOICE

    May 30 – June 8, 2025

    …throes of increasing wonder

    Music: Cristina Spinei

    Choreography: Kiyon Ross

    Costume Design: Pauline Smith

    Scenic Design: Norbert Herriges and Reed Nakayama

    Lighting Design: Reed Nakayama

     

    WORLD PREMIERE

    Choreography: Rena Butler

     

    Nine Sinatra Songs

    Music: Frank Sinatra

    Choreography: Twyla Tharp

    Staging: Shelley Washington

    Original Scenic Design: Santo Loquasto

    Original Costume Design: Oscar de la Renta

    Original Lighting Design: Jennifer Tipton

     

     SUBSCRIPTION & TICKET INFORMATION

    The Pacific Northwest Ballet Box Office is now taking orders for subscription renewals, new subscriptions, and digital-season subscriptions to PNB’s 2024-25 season. Full-season [seated] subscriptions start at $201 for seats to all six programs. Four-show mini-season subscriptions start at $138. Full and mini-season subscribers may add digital streaming access for reps 1-6 for $30 (does not include The Nutcracker or Beauty and the Beast.)

    DIGITAL SEASON: For four years, PNB’s digital stage has allowed the company to stay connected with audiences around the world, and our plans are to continue providing an at-home streaming option this season. Many works PNB performs onstage during the 2024-25 season will be shared exclusively with Digital Season subscribers after the curtain comes down on in-person performances, available to view for five days. The digital-only subscription will go on sale at a later date (to be announced), available for $300.

    Beginning July 23, tickets to all PNB performances (starting at $38) and George Balanchine’s The Nutcracker® (starting at $29) may be purchased through the PNB Box Office:

    • Phone - 206.441.2424
    • In Person - 301 Mercer Street at Seattle Center
    • Online 24/7 - PNB.org 

    (Tickets are also available – subject to availability – 90 minutes prior to each performance at McCaw Hall. In-person ticket sales at the McCaw Hall Box Office are subject to day-of-show increases. Advance tickets through the PNB Box Office are strongly suggested for best prices and greatest availability.

    For information about special ticket offers including group discounts, The Pointe, Beer & Ballet, Pay-What-You-Can, and student and senior rush tickets, visit PNB.org/offers.

    #  #  #

    Pacific Northwest Ballet’s season is proudly sponsored by ArtsFund, Microsoft, and The Shubert Foundation. Special thanks to 4Culture. PNB’s digital season is made possible by Katherine Graubard and William Calvin. PNB media sponsorship provided by The Seattle Times.

  3. The full 2024-25 season has been announced (via email):

    Rep 1: The Times Are Racing - Sep 20-21, 26-29*

    • New Work (Jessica Lang)
    • The Veil Between Worlds (Edwaard Liang)
    • The Times Are Racing (justin Peck)

    Rep 2: All Balanchine - Nov 1-2, 7-10

    • Square Dance
    • Prodigal Son
    • Stravinsky Violin Concerto

    Rep 3: The Sleeping Beauty - Jan 31-Feb 1 (or 2*), Feb 6-9  (Peter Boal, Doug Fullington)

    Rep 4: emergence - Mar 14-15, Mar 20-23

    • Afternoon of a Faun (Jerome Robbins)
    • Mopey (Marco Goecke)
    • New Work (Price Suddarth)
    • emergence (Crystal Pite)

    Rep 5: Romeo et Juliette - Apr 11-12 (or 13*), Apr 17-20 (Jean-Christophe Mailot)

    Rep 6: Director's Choice - May 30-31, June 5-8

    • Nine Sinatra Songs (Twyla Tharp)
    • TBA (Kiyon Ross) -- …throes of increasing wonder, per the press release below.
    • Two New Works TBA (Rena Butler)

    *Dates are based are standard subscription rep dates:

    • First weekend: Fri, Sat mat, Sat eve
    • Second weekend: Thu, Fri, Sat, Sun mat

    For full-lengths, there can be additional non-subscription performances (any of first weekend Sun mat, Sun eve and second weekend Sat mat, Sun eve)

    There's also usually a fully staged production by the School.

  4. 7 minutes ago, sandik said:

    For full subscribers, yes.  As I understand it, a stand-alone digital subscription for the season will be considerably more money.

    That's been the case for several years now.  The difference is that except for Nutcracker, they stopped offering single, stand-alone streams for rep. 

  5. The press release announcing more details about the new production of Sleeping Beauty:

     

    PACIFIC NORTHWEST BALLET ANNOUNCES A NEW PRODUCTION OF

    The Sleeping Beauty

    World Premiere Production to debut January 2025.

    The Sleeping Beauty Music: Peter Ilyich Tchaikovsky (Op. 66, 1889) Choreography: Marius Petipa Production Concept and Additional Choreography: Peter Boal

    Staging: Doug Fullington Scenic Design: Preston Singletary Projection Design: Wendall K. Harrington Costume Design: Paul Tazewell Puppetry Design: Basil Twist Lighting Design: Reed Nakayama

    Associate Scenic Design: Charlene Hall

    SEATTLE, WA – Pacific Northwest Ballet Artistic Director Peter Boal has announced plans for a new production of the classic story ballet The Sleeping Beauty. A contemporary twist on this classic story, Boal’s vision for the work is grounded in a timeless, mythical Pacific Northwest place. PNB’s staging will feature designs by some of the leading artists of our time: glass artist Preston Singletary will create his first theatrical scenic design, in collaboration with projection designs by Wendall K. Harrington. Costumes are being designed by Paul Tazewell, Tony Award-winner for Hamilton (and PNB’s Swan Lake), and puppet master Basil Twist will provide additional magical elements. Lighting will be by PNB’s resident lighting designer Reed Nakayama.

    Similar to PNB’s acclaimed production of Giselle, Boal will oversee the entire staging of The Sleeping Beauty and provide additional choreography, in collaboration with historically-informed staging by dance historian Doug Fullington based on Stepanov notation.

    “PNB’s new production of The Sleeping Beauty offers an exciting opportunity to present a timeless tale in a new light,” said Boal. “Our Beauty begins with a reexamining of original source materials. Notions of good versus evil, destiny and empowerment, and innovative interpretations of character and craft define this production. Northwest glass artist, Preston Singletary creates an ancestral realm anchored in North America. Paul Tazewell’s costumes build on Preston’s scenic designs with a vibrant palette and a modern-day elegance that feels only a few steps from a high fashion runway. Add puppetry, projections, butterflies, brilliant dancing, and one of classical ballet’s finest scores and we have a unique story ballet that will promises to enthrall audiences for years to come.

    Combined with Tchaikovsky’s timeless score performed by the world-famous PNB Orchestra, and Petipa’s enduring choreography, The Sleeping Beauty honors tradition while innovating to create a new imagining of a timeless story for today’s audiences. The Sleeping Beauty is scheduled to premiere January 31, 2025 as part of the company’s 2024-25 season. Current PNB subscribers may renew their subscriptions at this time. New subscriptions and single tickets will be available at a later date. For more information, visit PNB.org.

    CREATIVE TEAM

    PETER BOAL is Artistic Director of Pacific Northwest Ballet and Director of Pacific Northwest Ballet School. The Sleeping Beauty is the fifth reimagined full-length work for PNB during his tenure, noted for their inspired visual concept and design with a deep historical awareness. These include Coppélia (2010), Giselle (2014), George Balanchine’s The Nutcracker® (2015), and Jewels (2017). Peter has staged the works of George Balanchine, Jerome Robbins, and Ulysses Dove. www.PNB.org/aboutPNB/Peter-Boal

    DOUG FULLINGTON is a dance historian and musicologist whose work in ballet is focused on nineteenth-century French and Russian source material. A fluent reader of Stepanov choreographic notation, he has contributed historically informed dances to ballet productions around the world, including The Pharaoh's Daughter for the Bolshoi Ballet (2000), Le Corsaire for Bayerisches Staatsballett (2007), Giselle with Marian Smith and Peter Boal for Pacific Northwest Ballet (2011), Paquita with Alexei Ratmansky and Marian Smith for Bayerisches Staatsballett (2014), and Raymonda for English National Ballet (2022). With Phil Chan, he recently staged a reimagining of Marius Petipa’s La Bayadère as Star on the Rise: La Bayadère … Reimagined! for Indiana University’s Jacobs School of Music. In 2016, he was a resident fellow at NYU’s Center for Ballet and the Arts and research fellow at Jacob’s Pillow Dance Festival. He is the founder and director of the Tudor Choir, a professional vocal ensemble based in Seattle since 1993, and has conducted the Pacific Northwest Ballet Orchestra and Seattle Baroque Orchestra. www.dougfullington.com

    PRESTON SINGLETARY’s art has become synonymous with the relationship between Tlingit culture and fine art. His glass sculptures deal with themes of Tlingit mythology and traditional designs, while also using music to shape his contemporary perspective of Native culture and his own Tlingit heritage. Singletary started blowing glass at the Glass Eye studios in Seattle, WA in 1982, where he grew up and continues to work and live. He developed his skills as a production glass maker and attended the Pilchuck Glass School. Singletary began working at the glass studio of Benjamin Moore, where he broadened his skills by assisting Dante Marioni, Richard Royal, Dan Dailey and Lino Tagliapietra. It was there where Singletary started to develop his own work. Forty years of glass making, creating music, and working together with elders has put him in a position of being a keeper of cultural knowledge, while forging new directions in new materials and concepts of Indigenous arts. His work with glass transforms the notion that Native artists are only best when traditional materials are used. Now recognized internationally, Singletary’s works are included in several museums including the Seattle Art Museum, The British Museum (London, UK), The National Museum of The American Indian, Smithsonian Institution (Washington DC) as well as two solo exhibitions that toured multiple venues originating with the Museum of Glass (Tacoma, WA), including the “Preston Singletary: Raven and the Box of Daylight” exhibition which is currently traveling. www.prestonsingletary.com

    As a designer of scenic projections for the stage, WENDALL K. HARRINGTON’s work has been seen on Broadway, Off-Broadway, and in regional theatres across the country, in ballet and opera houses, and concert stages around the world. Ms. Harrington designed the projections for the award-winning The Who’s Tommy on Broadway, which toured the U.S., and has had productions in Toronto, London and Frankfurt, Germany. Ballet designs include multiple works for Alexei Ratmansky (including Wartime Elegy for PNB), Othello for American Ballet Theatre, Nutcracker for San Francisco Ballet, and a new Don Quixote for The Joffrey. For her work in the theatre, Ms. Harrington is the recipient of the Drama Desk Award, the Outer Critics Circle Award, the American Theatre Wing Award, the TCI Award for Technical Achievement, the Obie Award for Sustained Excellence of Projections, the Michael Merrit Award for Collaboration, Ruth Morely Design Award, USITT education award, and Players Club Theatre Person of the Year. Ms. Harrington lectures widely on the art of Projection design and is the head of the MFA program in Projection Design at the Yale School of Drama. www.wendallharrington.com

    PAUL TAZEWELL has been designing costumes for film, television, theatre, dance, and opera for close to thirty years. He is best known for his work with both of Lin-Manuel Miranda’s Tony Award-winning original Broadway productions of Hamilton, for which he received the Tony Award, and In the Heights. Paul’s film credits include West Side Story directed by Steven Spielberg for which Paul received an Oscar nomination, Harriet directed by Kasi Lemmons and starring Cynthia Erivo, and the upcoming films of the musical Wicked directed by Jon Chu. TV credits include The Immortal Life of Henrietta Lacks, starring Oprah Winfrey, and Lackawanna Blues, both directed by George C. Wolfe, “The Wiz! Live” for which he received an Emmy Award, and “Jesus Christ Superstar Live in Concert” featuring John Legend. Paul began his Broadway career with the groundbreaking musical, ‘Bring in Da Noise, Bring in ‘Da Funk, directed by George C. Wolfe. Other Broadway credits include MJ the MusicalAin’t Too ProudThe Color Purple; Memphis;  Caroline, or Change; and Elaine Stritch at Liberty. Paul has designed for such renowned companies as The Metropolitan Opera, Bolshoi Ballet, English National Opera, Theatre du Chatelet, The Public Theater, National Theatre UK, Kennedy Center, The Guthrie Theater, Arena Stage, Stratford Shakespeare Festival, Houston Grand Opera, San Francisco Opera, Chicago Lyric Opera and many more. Paul holds an MFA from NYU and a BFA from University of North Carolina School of the Arts.  He has been privileged instructing students as a guest artist at both New York University and North Carolina School of the Arts. From 2003-2006, he held a faculty position at Carnegie Mellon University. www.paultazewelldesign.com

    A third-generation performer, BASIL TWIST is a native of San Francisco.   Known for presenting puppetry as a serious and sophisticated art form through his imaginative experiments with materials, techniques and uses in both narrative and abstract works, Basil’s shows range from productions of classic stories to abstract visualizations of orchestral music and are informed by puppetry traditions from around the world. Basil received a degree from the École Nationale Supérieure des Arts de la Marionnette (ESNAM) in Charleville-Mézières, France. Highlights of his original shows include Symphonie Fantastique, Petrushka, Doguagaeshi, Rite of Spring, Hansel & Gretel, Arias with a Twist, La Bella Dormente nel Bosco, Sisters Follies, and Titon et L’Aurore.  Twist guides the internationally recognized Dream Music Puppetry Program at HERE in NYC. He has been honored with a MacArthur, the “Rome Prize” from The American Academy in Rome, a Guggenheim Fellowship, USA Fellowship, a Doris Duke Performing Artist Award and his productions have received numerous grants from the Jim Henson Foundation. basiltwist.com

    REED NAKAYAMA is a lighting designer based in Seattle. Originally from Colorado, he brought his fascination of the stage to the Pacific Northwest where he has designed lights for a wide gamut of art forms. For Ballet, he lighted Ghost Variations for Jessica Lang, Khepri for Annabelle Lopez Ochoa, Curious Kingdom for Christopher Wheeldon, and Wartime Elegy for Alexei Ratmansky; in Theatre, Caught for Desdemona Chiang at Intiman, A Winter's Tale for Sheila Daniels at Seattle Shakespeare Company, and the all-female version of Frost/Nixon at Strawberry Theatre Workshop. In music, he crafted lights for touring artists including: Sia, Portugal The Man, Soundgarden, Pink Martini, and The Indigo Girls. In opera, he helped realize Tom Baker's opera, Hunger, about the Donner Party's ill-fated journey. His designs for circus were for Teatro ZinZanni, Acrobatic Conundrum, SANCA, Open Space on Vashon Island, and the Moisture Festival. Other companies he has worked with include Book-it Repertory Theatre, Seattle Dance Collective, Theater Schmeater, and the Rat City Rollergirls. He received his BFA from Cornish College of the Arts in 2007. In 2019, Mr. Nakayama was named Resident Lighting Designer for Pacific Northwest Ballet. www.reednakayama.com

    CHARLENE HALL is a set designer and scenic artist with 35 years of work with Pacific Northwest Ballet. She holds a BFA from Southern Oregon University and an MFA from Brandeis University in set design. She has worked as an assistant designer on many PNB ballets including Coppélia, Theme & Variations, Giselle and George Balanchine’s The Nutcracker®, and has designed and painted scenery in various Seattle theaters. After retiring she developed her own art in the Skagit Valley. Charlene is happy to return to PNB to assist on The Sleeping Beauty. www.charlenehallwatercolor.com

     

  6. Any dancer with a European pension and healthcare on the line would be giving up a lot of future security to join a company in the US, and I’d hope they could have a straightforward conversation with the Artistic Director.  I don’t know whether Dutch National Ballet does.

  7. Mark Franko, Dance Editor of The Massachusetts Review, sent out an email "to offer you here a sneak preview of Ariel Osterweis’s forthcoming book, Body Impossible: Desmond Richardson and the Politics of Virtuosity. This excerpt is from the book’s introduction, and it will be out in in April 2024 as part of the Studies in Dance Theory book series at Oxford University Press."

    From the excerpt,

    Quote

    Body Impossible: Desmond Richardson and the Politics of Virtuosity responds to the need for rigorous theoretical investigation of virtuosity in dance and performance studies. To that end, this book is not a biography and is, instead, a project focused on cultures and theories of performance, with Richardson’s artistry at the center of its inquiry.

    I assume the hardcover, priced at $125, is targeted for libraries, but amazon and Barnes & Noble also have the paperback @$39.95, with free shipping for both, and are taking pre-orders.  Local independents are as well; prices may vary.

  8.  

    image.png

    Four years after its originally-scheduled PNB Premiere, Alejandro Cerrudo’s complete One Thousand Pieces finally arrives.

    Seven Performances Only: March 15 – 24, 2024

    Friday, March 15 at 7:30 PM

    Saturday, March 16 at 2:00 and 7:30 PM

    Thursday – Saturday, March 21 – 23 at 7:30 PM

    Sunday, March 24 at 1:00 PM

     

    Marion Oliver McCaw Hall

    321 Mercer Street at Seattle Center

    Seattle, Washington 98109

    Streaming Digitally March 28 – April 1

    SEATTLE, WA – Delayed gratification: Four years after a global pandemic pushed back its Pacific Northwest Ballet premiere, Alejandro Cerrudo’s One Thousand Pieces finally comes to the McCaw Hall stage as the fourth offering in PNB’s 2023-24 season. Featuring music from Philip Glass, Cerrudo’s large-scale ensemble work will be presented on a double-bill, paired with the joyous revelry of Matthew Neenan’s made-for-PNB Bacchus. ONE THOUSAND PIECES plays seven performances only, March 15 through 24 at Seattle Center’s Marion Oliver McCaw Hall. Tickets start at just $38. (The program will also stream digitally March 28 – April 1. Digital access is available by subscription only.) For tickets and additional information, contact the PNB Box Office at 206.441.2424, in person at 301 Mercer Street, or online 24/7 at PNB.org. (Follow hyperlinks below for additional notes):

    One Thousand Pieces

    Music: Philip Glass

    Choreography: Alejandro Cerrudo

    Staging: Pablo Piantino, Jessica Tong, and Ana Lopez

    Scenic and Costume Design: Thomas Mika

    Lighting Design: Michael Korsch

    Running Time: 70 minutes

    Premiere: October 18, 2012, Hubbard Street Dance Chicago

    PNB Premiere: March 13, 2020*; September 24, 2021 (excerpts); March 15, 2024 (full work)

    *COVID shut-down

    “For me, a stained glass window is a transparent partition between my heart and the heart of the world. Stained glass has to be serious and passionate. It is something elevating and exhilarating”

    — Marc Chagall

    One Thousand Pieces was created in celebration of Hubbard Street Dance Chicago’s 35th anniversary in 2012. The work was inspired by Marc Chagall’s America Windows, stunning panels of glowing stained glass created by the Russian-French artist and donated to the Art Institute of Chicago in 1977—the same year Hubbard Street was founded—to commemorate America’s bicentennial. When asked why he chose the title One Thousand Pieces, Cerrudo replied, “Literally because of the symbolism of the work, observing how each piece of glass combines to make a whole larger piece made from many individual pieces, the same way human beings come together to create a project. The windows have inspired my choreography, but I’m not intending to teach anyone about this artwork. Instead, it’s my personal interpretation. The set designer, the music, and the dancers have all inspired me. I’m not trying to tell a story or represent the art. The scenic design is quite abstract, yet I hope everyone will be immersed in the images that will appear and connect them to the windows.”

    One Thousand Pieces was the fourth work by Alejandro Cerrudo to be added to Pacific Northwest Ballet’s repertory

    PNB's 2024 performances of One Thousand Pieces are supported by Lynne Graybeal & Scott Harron. The 2020 Pacific Northwest Ballet premiere of Alejandro Cerrudo’s One Thousand Pieces was generously underwritten by Susan Brotman.

     

    Bacchus

    Music: Oliver Davis

    Choreography: Matthew Neenan

    Costume Design: Mark Zappone

    Lighting Design: Randall G. Chiarelli

    Running Time: 24 minutes

    Premiere: March 15, 2019, Pacific Northwest Ballet

     Inspired by the lush and flamboyant music of Oliver Davis, Matthew Neenan’s Bacchus embodies the nature of the Roman god of wine, merriment, and abundance.

     PNB's 2024 performances of Bacchus are supported by Connie & Tom Walsh. The 2019 world premiere of Matthew Neenan's Bacchus was supported by Richard & Lisa Altig, Lyndall Boal, and David & Cheryl Hadley.

    SPECIAL EVENTS

    PNB CONVERSATIONS & DRESS REHEARSAL

    Thursday, March 14, 5:30 pm

    Nesholm Family Lecture Hall at McCaw Hall

    Join PNB Dance Historian Doug Fullington, in conversation with members of the PNB Orchestra, including Music Director/Principal Conductor Emil de Cou, and Concertmaster Michael Jinsoo Lim. PNB Conversations offer in-depth interviews with artists involved in putting our repertory on stage. Attend the Conversations event only or stay for the dress rehearsal of ONE THOUSAND PIECES. Tickets (suggested donation of $25) are available through the PNB Box Office.

     

    BALLET TALK

    Nesholm Family Lecture Hall at McCaw Hall

    Join dance historian 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.

     

    MEET THE ARTIST

    Nesholm Family Lecture Hall at McCaw Hall

    Skip the post-show traffic and enjoy a Q&A with Artistic Director Peter Boal and PNB dancers, immediately following each performance. FREE for ticketholders.

     

    TICKET INFORMATION

    Tickets to PNB’s live and/or digital performances may be purchased through the PNB Box Office:

    • Phone - 206.441.2424
    • In Person - 301 Mercer Street at Seattle Center
    • Online 24/7 - PNB.org

    Subject to availability, tickets are also available 90 minutes prior to each performance at McCaw Hall. Advance tickets through the PNB Box Office are strongly suggested for best prices and greatest availability.

    Tickets for the live performances of ONE THOUSAND PIECES are $38 - $210. Groups of ten or more may enjoy discounts up to 20% off regular prices (not valid on lowest-priced tickets or combined with other offers): Visit PNB.org/season/group-sales for more info.

    PNB’s digital presentation of ONE THOUSAND PIECES (March 28 – April 1) is available by subscription only, $120.

    For information about special ticket offers including group discounts, The Pointe, Pay-What-You-Can, rush tickets, Beer and Ballet night, TeenTix, and more, visit PNB.org/offers.

    Caveat Emptor: Like many performing arts, PNB struggles with ticket resellers. At their most mundane, third-party sites snap up less expensive tickets and sell them for a profit. At their most dastardly, they sometimes sell invalid tickets. To enjoy the ballet at the best prices available, always purchase tickets directly from PNB. Suspected ticket scams should be reported to the Better Business Bureau.

    Health, Safety, and Accessibility: At this time, masks are encouraged but not required as part of the PNB audience experience. For details and info regarding PNB’s current health and safety policies, visit PNB.org/Health. For information on McCaw Hall accessibility, visit PNB.org/Accessibility.

    The show must go on: Pacific Northwest Ballet is committed to honoring its performance calendar. Performances will not be cancelled for weather, traffic, or acts of Congress. In the unlikely event that the status of a performance does change, an announcement will be posted on PNB.org.

  9. I just got an email from Tacoma Urban Performing Arts Center (T.U.P.A.C) about an upcoming screening of "Lift," Misty Copeland's documentary, on February 25 at 3pm at the Center::

    Hosted by none other than Jonathan Batista, Pacific Northwest Ballet's trailblazing first Black Principal Dancer, this event promises to take you on an unforgettable journey through the world of pre-professional ballet instruction. Prepare to be moved by the incredible stories of marginalized Black ballet students as they defy the odds and pursue their dreams on stage.

    Join us as we shine a spotlight on the invaluable contributions of Pacific Northwest Ballet's Black dancers, including Tacoma's own Soloist, Amanda Morgan, the visionary Ashton Edwards, and the captivating Destiny Wimpye. They'll be sharing their personal challenges and triumphs, inspiring us all to reach for the stars.

    Don't miss this chance to experience the culture, resilience, and creativity of Black ballet dancers firsthand! Reserve your seat now for an evening filled with beauty, empowerment, and inspiration. Let's come together to honor the past, celebrate the present, and ignite inspiration for the future. Join us for this exhilarating, one-of-a-kind Tacoma event!

  10. They brought in outside dancers because that's what they do in their big anniversary years.  Most of the guests are from companies that have some lineage from Balanchine through their Artistic Directors, past and present.  PNB dancers under Russell and Stowell were invited, and Edwards was invited while dancing under Boal.

  11. 40 minutes ago, Novice123 said:

    Ballet fans like to think they are progressive and liberal but not really.  

    Regardless of how this was meant, it violates our "discussing the discussion" policy by talking about each other instead of the topic.

    There is also no such monolith as "ballet fans."

  12. Along with the early subscriber package today came the Winter 2024 Ballet Arizona newsletter. The Studio Company Spotlight on page 5 featured Jordan Islas.

    Q: Who is your greatest dance inspiration?

    A: One of my inspirations is Jonathan Batista, a Principal with Pacific Northwest Ballet!  I admire his work ethic and talent and am fascinated by his journey, coming from  Brazil and getting a full scholarship to English National Ballet School.  To see a person that looks like me, achieving such a high title in the ballet world, gave me a north star.  It showed me the culture for black dancers was becoming less rigid and more accepting.  I hope I can shine just as bright as him and let others, who might not feel seen, know that they belong despite the norms of the ballet world.

  13. The "slim" early subscriber package arrived today.  Usually, they throw out a few crumbs, but this time it was all Sleeping Beauty and nothing else :lol:.  The description also included "projection design by Wendall K. Harrington (Alexei Ratmansky's Wartime Elegy)".  "This historically informed re-imagining of the classic tale is not-to-be-missed..."

    Plus, digital is being offered as a $30 add-on for full subscribers, yay!.  That's the first thing I looked for.  Also pre-paid parking at a discount and a mobile ticket option.

     

     

     

     

  14. They are bringing in dancers from different companies for their anniversary season.  At least some of them have gotten attention from the NYT. PNB dancers have participated in other anniversary years, like when a young Noelani Pantastico and Olivier Wevers danced the second movement in Brahms-Schoenberg Quartet, and when Patricia Barker danced Polyhymnia during the 1993 Balanchine Celebration, along with a Calliope from the Mariinsky Ballet and a Terpsichore from Paris Opera Ballet.

    They may have chosen this particular ballet to send a message -- or they may have taken a recommendation from Stanley, who'd worked with Edwards before, or they may have remembered that and run with it, or they may have considered that people would be less upset if another visitor danced an iconic Balanchine or Robbins role, instead of a Peck, ie, one less opportunity for a NYCB dancer, or, or, or -- but they invited him as part of their anniversary, not in a vacuum.

×
×
  • Create New...