Helene

It's live now!

Wow, and without knowing who her boss will be in six months.

A report by Marcie Sillman on the "Nutcracker" costumes from Seattle Public Radio station KUOW with some beautiful shots of the costumes, some in construction and some finished, by Isolde Raftery: http://kuow.org/post/see-new-nutcracker-costumes-pacific-northwest-ballet

I think it was Sibley in "Striking a Balance" who described how the Royal Ballet was in the theater to watch rehearsal when the Bolshoi came to London in the 50's with "Romeo and Juliet," and described how they saw a little old woman in her woolies whom they assumed was a ballet mistress, when suddenly she danced on her cue and was completely believable as a young teen. It was Ulanova.

I agree with you: the other companies looked very natural. The moment Filin started to cackle with the way-too-caffeinated hostess, I knew we were in for a very long info-mercial, and not in a good way. The tone back-and-forth reminded me of an over-the-top Russian New Year TV special I saw with friends in Tallinn.

Last year's Bolshoi segment struck me as a cross between a chatty lovefest and an info-mercial. But then again, for the most part, the Burns ABT documentary struck me as an infomercial for McKenzie's (far fewer than) two-dozen cherry-picked dancers. While for the most part, the business aspects of Wiseman's film were the most interesting to me -- that scene between Lefevre and Emmanuel Gat was a miracle; the scene between Lefevre and the young dancer at the end was grotesquerie -- there were substantial segments of rehearsal footage, and there's nothing in a multiple-hour shoot that would preclude something similar, were the companies willing to take a risk on the live rehearsal experience. If I were an AD allowing video of a rehearsal, I would be sure to schedule my most even-tempered dancer-and-choreographer/stager combination for it, drink a big glass of wine, and hope for the best.

I don't remember SFB's content. Was there a lot of Balanchine, Morris, or Tharp, etc. where permission to broadcast was limited to the initial broadcast?

I'm not at all surprised: Copeland's Instagram doesn't have a "highly individual approach.

Sorry -- my humor detector is way off today .

I doubt that this would be welcome on BT4D. Not simply because of the spelling.error.

News station KING did a feature yesterday on the new costumes: http://www.king5.com/story/entertainment/2015/09/04/nutcracker-getting-bold-new-look-pacific-nw-ballet/71695494/ There's a video. (Protect your ears from the loudness of the intro commercial.) There are even some interesting comments during the post-feature banter.

Welcome to Ballet Alert!, Giusi! There's not need to apologize for your English. We look forward to reading what you post here.

Congratulations to Ms. Blanco! She is a lovely dancer.

That is wonderful news !

SPECIAL EVENTS Exploring George Balanchine’s The Nutcracker™ (Three-part series) Get an inside look at PNB’s new production before the curtain goes up! PNB’s three-part series will introduce audiences to the magical production that made The Nutcracker America’s favorite holiday tradition. All events are 90 minutes. Tickets ($40 per session or $100 for the series) are available through the PNB Box Office, 206.441.2424 or online at PNB.org. Introducing George Balanchine’s The Nutcracker™ Tuesday, September 15, 7:00 pm Nesholm Family Lecture Hall at McCaw Hall Learn all about George Balanchine’s The Nutcracker™ during this panel discussion with Artistic Director Peter Boal, stager Judith Fugate, and designer Ian Falconer as they share their lifelong experiences with this treasured staging and reveal secrets about PNB’s new production. Learning The Nutcracker Tuesday, October 13, 6:00 pm The Phelps Center, 301 Mercer Street Join in the fun and learn how to be royal alongside PNB Company dancer Ryan Cardea and PNB School students as Peter Boal teaches you the famous Little Prince pantomime from the second act of George Balanchine’s The Nutcracker™. Dancing The Nutcracker Tuesday, November 17, 5:30 pm Watch PNB Company dancers rehearsing excerpts from The Nutcracker while learning about the close ties Balanchine’s production shares with the 1892 St. Petersburg original. With Carrie Imler, James Moore, Noelani Pantastico, Kyle Davis, and Angelica Generosa. Listen to the Ballet PNB partners with 98.1 Classical KING FM 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 George Balanchine’s The Nutcracker™ on Saturday, December 5 at 7:30 pm. Only on KING FM, 98.1 fm or online at king.org/listen. Nutcracker Suites at McCaw Skip the lines and bustle of the lobby at intermission! Treat you and yours to an enchanted intermission experience in the SAVOR…McCaw Hall Nutcracker Suite. The Nutcracker Suite takes the stress out of intermission and adds to the memorable wonder of your day at the ballet. There’s a range of activities awaiting you: a self-service candy station, hot cider and cocoa with marshmallows and toppings, swords and crowns for snap-your-own pictures, a light appetizer buffet by Executive Chef Shawn Applin, and coffee, Prosecco, wine and beer for adults. Nutcracker Suites are $30 per person (includes applicable tax and service charge); performance tickets sold separately. To purchase, visit “Reservations” at savorsmgmccawhall.com or call 866.973.9610. Nutcracker Tea Saturday, December 5 following the 2pm matinee performance Don’t miss the opportunity to be a part of the holiday magic: You and your little ones will join friends from the Land of the Sweets in George Balanchine’s The Nutcracker™ for an exclusive reception after the show. Enjoy a buffet of kid-friendly snacks and sweets, while collecting autographs from the Sugarplum Fairy, Arabian Coffee, Spanish Hot Chocolate and all your favorite characters, on your very own keepsake poster. Tickets ($45/child and $65/adult) are available through the PNB Box Office, 206.441.2424 or PNB.org. # # # Principal sponsorship support for the 2015 PNB premiere of George Balanchine’s The Nutcracker™ is made possible through the generosity of Dan & Pam Baty, title sponsor Alaska Airlines, and major sponsors Snoqualmie Indian Tribe, Swedish Pediatrics, Patty Edwards, Peter & Peggy Horvitz and Carl & Renee Behnke. Chaplin Motors/Subaru is the official sleigh sponsor. Pacific Northwest Ballet’s 2015-2016 season is proudly sponsored by ArtsFund and Microsoft. Season support also provided by 4Culture, National Endowment for the Arts, and Seattle Office of Arts & Culture. PNB media sponsorship provided by The Seattle Times and KOMO 4.

PACIFIC NORTHWEST BALLET PRESENTS George Balanchine's "The Nutcracker"™ Music: Peter Ilyich Tchaikovsky Choreography: George Balanchine © The George Balanchine Trust Scenic and Costume Design: Ian Falconer Lighting Design: James F. Ingall November 27 – December 28, 2015 Marion Oliver McCaw Hall 321 Mercer Street, Seattle Center Seattle, WA 98109 SEATTLE, WA – A new/old holiday tradition comes to Seattle! Pacific Northwest Ballet is excited to premiere the centerpiece of its 2015/2016 season, a sparkling new production of George Balanchine’s The Nutcracker™ featuring eye-popping colorful sets and costumes designed by author/illustrator Ian Falconer (Olivia the Pig). PNB’s new production still features Tchaikovsky’s timeless score performed live by the mighty PNB Orchestra, and the beloved story of Clara, her Nutcracker prince, and a magical journey to delight audiences both young and old. “As a ten-year-old boy, I stepped onto the stage for the first time as a member of the cast of George Balanchine’s Nutcracker,” said PNB Artistic Director Peter Boal. “The magic of this production was evident from that moment on, and now to have the opportunity to bring it to Seattle audiences wrapped in the brilliance of Ian Falconer’s designs is a dream come true.” PNB’s new production of George Balanchine’s The Nutcracker™ premieres at Seattle Center’s McCaw Hall for 37 performances November 27 through December 28, 2015. Tickets may be purchased through the PNB Box Office at 206.441.2424, online at PNB.org, or in person at 301 Mercer St. No other ticket outlets are authorized to sell tickets for PNB’s production of George Balanchine’s The Nutcracker™. With his work on George Balanchine’s The Nutcracker™, designer Ian Falconer becomes PNB’s second Artist-in-Residence (following Twyla Tharp). Mr. Falconer will be spending approximately 12 weeks in Seattle over the course of the year, working with PNB costumers, scenic artists, dancers and stagers, to bring this new production to life. At the end of the 2015/2016 season, the PNB School will present two performances of Christopher Wheeldon’s Scènes de Ballet, featuring scenic design by Mr. Falconer. “Ian’s blend of wit, wonder and ingenuity fills the stage and delights the viewer,” said Mr. Boal. “How lucky we are to have him as PNB’s second Artist-in-Residence.” In anticipation of its premiere, PNB is presenting a series of three special events over the next three months, to introduce audiences to the production. Curated by Audience Education Manager Doug Fullington, Exploring George Balanchine’s The Nutcracker™ will give audiences a sneak-peek before the curtain goes up in November. See SPECIAL EVENTS (below) for more information. 2015 NUTCRACKER PERFORMANCE SCHEDULE Friday Nov. 27 7:30pm Saturday Nov. 28 2:00 pm & 7:30 pm Sunday Nov. 29 1:00 pm & 5:30 pm Friday Dec. 4 7:30 pm Saturday Dec. 5 2:00 pm & 7:30 pm Sunday Dec. 6 1:00 pm & 5:30 pm Thursday Dec. 10 7:30pm Friday Dec. 11 7:30pm Saturday Dec. 12 2:00 pm & 7:30 pm Sunday Dec. 13 1:00 pm & 5:30 pm Wednesday Dec. 16 7:30 pm Thursday Dec. 17 7:30 pm Friday Dec. 18 2:00 pm & 7:30 pm Saturday Dec. 19 2:00 pm & 7:30 pm Sunday Dec. 20 1:00 pm & 5:30 pm Monday Dec. 21 2:00 pm & 7:30 pm Tuesday Dec. 22 2:00 pm & 7:30 pm Wednesday Dec. 23 2:00 pm & 7:30 pm Thursday Dec. 24 2:00 pm Saturday Dec. 26 1:00 pm & 5:30 pm Sunday Dec. 27 1:00 pm & 5:30 pm Monday Dec. 28 1:00 pm & 5:30 pm TICKET INFORMATION Ticket range: $25 - $156 ($22 - $141 for children 12 and under. All ages require a ticket for admission, including babes in arms.) Tickets may be purchased through the PNB Box Office: Online 24/7 at pnb.org Phone: 206.441.2424 (Mon.-Fri. 9am–6pm; Sat. 10am–5pm) In Person: 301 Mercer Street, Seattle (Mon.-Fri. 10am–6pm; Sat. 10am–5pm) Tickets are also available – subject to availability – 90 minutes prior to each performance at McCaw Hall, located at 321 Mercer Street. NOTE: No other ticket outlets are authorized to sell tickets for PNB’s production of George Balanchine’s The Nutcracker™. Bring a Group to the Show and Save! From a familial flock of 15 to a throng of 3,000 of your closest comrades, George Balanchine’s The Nutcracker™ is the perfect way to celebrate the holiday season! Bring a group of family, friends, co-workers, or clients and receive 10-15% off PNB’s regular prices, depending on date, time, and section. In addition to outstanding savings, groups receive personal ticketing assistance, the opportunity to book a backstage tour, save on group menu packages, receive priority seating, and have access to McCaw Hall reception facilities that may be rented for private parties. For more information or to purchase group tickets, please use PNB’s online group form at PNB.org/Season/GroupTickets or contact Group Sales Manager Julie Jamieson at 206.441.2416 or JulieJ@PNB.org. Please note that all discounts are taken off the standard ticket price only, and may not be combined with other offers. Please check back as additional details become available.

When you're late for class trying to find a barre spot

PROGRAM NOTES Tide Harmonic Music: Joby Talbot (2009; arr. 2013) Choreography: Christopher Wheeldon Costume Design: Holly Hynes Lighting Design: Randall G. Chiarelli Running Time: 18 minutes Premiere: May 31, 2013 Christopher Wheeldon’s Tide Harmonic is the choreographer’s first creation for Pacific Northwest Ballet and the fifth Wheeldon ballet to enter the company’s repertory. (Following After the Rain pas de deux, Carousel (A Dance), Polyphonia, and Variations Sérieuses.) Choreographed for four couples, the work is set to Tide Harmonic, a score for chamber orchestra by British composer Joby Talbot. (Wheeldon and Talbot have also collaborated on Alice’s Adventures in Wonderland and Shakespeare’s A Winter’s Tale. Both ballets are co-productions between The Royal Ballet and National Ballet of Canada.) Conceived as a dance work, Tide Harmonic has been specially arranged for Wheeldon’s new ballet. Talbot describes the score as “…a kind of water symphony that, rather than constructing a poetic or narrative programme inspired by man’s relationship with water, instead focuses on the substance itself, the forces that act upon it, and the energy that flows through and from it.” Premiering during PNB’s 40th Anniversary season, Wheeldon’s Tide Harmonic was the culmination of a long relationship between the choreographer and the artists of Pacific Northwest Ballet. “Having Chris Wheeldon create a ballet for PNB has been a dream of mine since arriving in Seattle eight years ago,” said Artistic Director Peter Boal in 2013. “He has known and admired many of our dancers since his early days choreographing for the students of the School of American Ballet. As a choreographer, his sense of musicality and invention coupled with his knowledge of tradition and design are unparalleled.” [The 2013 world premiere of Christopher Wheeldon’s Tide Harmonic was generously underwritten in part by Jeffrey & Susan Brotman. Notes by Doug Fullington.] Prodigal Son Music: Sergei Prokofiev (Op. 46, 1928-1929) Libretto: Boris Kochno Choreography: George Balanchine © The George Balanchine Trust Staging: Peter Boal Scenic and Costume Design: Georges Rouault Lighting Design: Randall G. Chiarelli Running Time: 41 minutes Premiere: May 21, 1929; Diaghilev’s Ballets Russes (Paris) PNB Premiere: April 19, 1984 Prodigal Son was the impresario Serge Diaghilev’s last production for the Ballets Russes just months before his death in 1929. With choreography by the 25-year-old George Balanchine, an original score by Sergei Prokofiev, and monumental expressionist sets by Georges Rouault, the ballet is the quintessence of an extraordinary epoch in 20th-century dance. Beginning with The Firebird in 1910, Diaghilev was a magnet for many of the most exciting avant-garde choreographers, composers and visual artists, who together made some of the landmarks of modern art. The aesthetic unity to which Diaghilev inspired in his productions is brilliantly realized in Prodigal Son, no part of which can satisfactorily be imagined separate from the other. With a libretto by Boris Kochno derived for the Biblical parable and from a description of it in a story by Pushkin, the ballet is deeply religious and Russian in feeling. According to the great critic Edwin Denby, much of its power comes from “the leisure in the pacing of the scenes, which transports the action into a spacious patriarchal world, like a lifetime of faith.” But this tale of brash self-assertion, debauchery and repentance is also a devastating commentary on the dehumanizing nature of modern life. Just a year earlier, in Apollo, Balanchine had discovered the essence of his modern classicism in a contemporary rendering of idealized human forms. But in Prodigal Son, he boldly borrowed movement from the world of gymnasts and circus performers―not to shock gratuitously, but to create a symbolic poetry of the grotesque. The heart of the matter is communicated through unforgettable visual contrasts: the upright stature and calm, unhurried gestures of the patriarch; the acrobatic bravado of the son, impelled towards freedom; the mechanized back-to-back scuttlings of the gargoyle-like revelers; the snakelike sensuality of the seductress; and finally, the sinew-wrenching journey of the Prodigal, on his knees, to the forgiving embrace of his father―that still point of the turning world. Although Diaghilev worried that the young choreographer’s usually intellectual approach to his art might preclude his communicating the deep feeling so essential to Prodigal Son, Balanchine produced a work of awesome dramatic and emotional power that remains one of the masterpieces of 20th-century art. [Notes by Jeanie Thomas; edited by Doug Fullington.] The Concert (or, The Perils of Everybody) Music: Frederic Chopin Choreography: Jerome Robbins Staging: Judith Fugate Scenic Design: Edward Gorey Costume Design: Irene Sharaff Lighting Design: Jennifer Tipton Lighting Re-creation: Nicole Pearce Running Time: 31 minutes Premiere: March 6, 1956; New York City Ballet PNB Premiere: September 15, 2007 Jerome Robbins wrote: “One of the pleasures of attending a concert is the freedom to lose oneself in listening to the music. Quite often, unconsciously, mental pictures and images form, and the patterns and paths of these reveries are influenced by the music itself, or its program notes, or by the personal dreams, problems and fantasies of the listener. Chopin’s music in particular has been subject to fanciful ‘program’ names such as the Butterfly Etude, the Minute Waltz, the Raindrop Prelude, etc.” Choreographed in 1956, Robbins’ The Concert is a comic spoof of a classical music concert. The setting is an all-Chopin recital where the attendees allow their decidedly imaginative minds to wander. When the resulting images are danced, human foibles and recognizable insecurities are revealed as Robbins brings each fantasy comically and vividly to life. A genuine crowd-pleaser, The Concert illustrates Robbins’ remarkable insight into the delightful imperfections of human relationships and, in the midst of the laughter, enlightens us all. [The 2007 PNB premiere of The Concert was generously underwritten by Ernest & Diane Burgess and Glenn Kawasaki. Notes compiled by Doug Fullington.]

September 25 – October 4, 2015 Marion Oliver McCaw Hall 321 Mercer Street at Seattle Center Seattle, WA 98109 Performances: September 25 at 6:30 pm September 26 at 2:00 and 7:30pm October 1 – 3 at 7:30 pm October 4 at 1:00pm “See the music, hear the dance.” –George Balanchine SEATTLE, WA – Pacific Northwest Ballet opens its 2015-2016 season with SEE THE MUSIC, a terrific triple-bill of repertory works. After an eight-year hiatus, PNB welcomes the return of George Balanchine’s Prodigal Son, choreographed by the ballet master at the age of 25 for Diaghilev’s Ballets Russes. Another relative youngster, Christopher Wheeldon (recent Tony Award-winner for An American in Paris), shares the bill with Mr. B., represented by his dramatic Tide Harmonic, created for PNB in 2013. The program comes to a comic close with Jerome Robbins’ hilarious The Concert (or, The Perils of Everybody). SEE THE MUSIC runs for seven performances only, September 25 through October 4 at Seattle Center’s Marion Oliver McCaw Hall. Tickets start at $30 and may be purchased by calling 206.441.2424, in person at the PNB Box Office at 301 Mercer Street, or online at PNB.org. TICKET INFORMATION & DISCOUNT OFFERS Tickets ($30-$187) may be purchased through the PNB Box Office: Phone - 206.441.2424 (Mon.-Fri. 10am–6pm; Sat. 10am–5pm) In Person - 301 Mercer Street, Seattle (Mon.-Fri. 10am–6pm; Sat. 10am–5pm) Online - PNB.org (24/7) Subject to availability, tickets are also available 90 minutes prior to showtime at McCaw Hall. GROUP SALES Discounts are available for groups of 10 or more. For group tickets, please call Group Sales Manager Julie Jamieson at 206.441.2416, email JulieJ@PNB.org or use PNB’s online contact form at PNB.org/Season/GroupTickets. YOUNG PATRONS CIRCLE NIGHT Friday, October 2 at 7:30 pm 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 and search for “YPC.” THE POINTE for YOUNG ADULTS Ballet fans ages 20-40 are invited to get The Pointe – PNB’s exclusive email list offering insider access and ticket deals for young adults. Launching August 18. To receive more information, email KLiang@PNB.org. TEEN TIX PNB is a proud participant of Seattle Center’s TeenTix program. TeenTix members (13 to 19 years old) can purchase tickets to PNB performances and other music, dance, theater and arts events for only $5. To join TeenTix or view a list of participating organizations, visit teentix.org. STUDENT AND SENIOR RUSH TICKETS Subject to availability, half-price rush tickets for students and senior citizens (65+) may be purchased in-person with ID, from 90 minutes prior to show time at the McCaw Hall box office. SPECIAL EVENTS PRODIGAL SON COACHING REHEARSAL Tuesday, September 8, 6:00 pm The Phelps Center, 301 Mercer Street, Seattle George Balanchine revived his 1929 Prodigal Son for Jerome Robbins in 1950, and Robbins went on to coach Peter Boal in the role in the 1980s. Join us as Boal passes his incredible legacy on to PNB’s dancers performing the iconic roles of the Prodigal and the Siren. Tickets ($25 each) are available through the PNB Box Office. BALLET PREVIEW — FREE Tuesday, September 15, 12:00 noon Central Seattle Public Library, 1000 Fourth Avenue, Seattle Join PNB for a free lunch-hour preview lecture at the Central Seattle Public Library. Education Programs Manager Doug Fullington will offer insights about SEE THE MUSIC complete with video excerpts. FREE of charge. LECTURE SERIES & DRESS REHEARSAL Thursday, September 24, 2015 Lecture 6:00 pm, Nesholm Family Lecture Hall at McCaw Hall Dress Rehearsal 7:00 pm, McCaw Hall PNB’s Lecture Series offers in-depth discussions with choreographers, stagers, designers, dancers and other artists that reveal much about the creative process involved in the development of a ballet. Attend the lecture only or stay for the rehearsal of SEE THE MUSIC. Tickets are $12 for the lecture, or $30 for the lecture and dress rehearsal. Tickets may be purchased through the PNB Box Office. FIRST LOOK GALA Friday, September 25 Join PNB for our annual opening night gala, as the curtain rises on our 43rd season. Following a cocktail reception, guests will enjoy the performance of SEE THE MUSIC, before sitting down to an elegant black-tie dinner and auction. Dinner will feature a costume parade of Ian Falconer’s designs for PNB’s new production of George Balanchine’s The Nutcracker. The party continues with dessert and dancing onstage. FIRST LOOK tickets start at $350 (performance tickets sold separately) and are available through PNB Special Events, 206.441.2429 or Events@PNB.org. PRE-PERFORMANCE LECTURES Nesholm Family Lecture Hall at McCaw Hall Join Education Programs Manager Doug Fullington for a 30-minute introduction to each performance, including discussions of choreography, music, history, design and the process of bringing SEE THE MUSIC 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 dancers, immediately following each performance. FREE for ticketholders.

The set-up for this season's So You Think You Can Dance was that the twenty dancers who appeared on the show were split into two teams: Team Stage, mentored by Travis Wall -- the tap, jazz, contemporary, ballroom dancers -- and Team Street, mentored by Twitch -- the hip hop dancers. Each week they competed against each other, and each week, one was eliminated from each group. Until August 10, the last time I watched, "America" voted after the last week's show, and the bottom three from each group were "in danger" during the current show. "America" had a few minutes to save one from each group, and then the judges decided which of the other two to save. After that they dropped to bottomtwo from each group, until this week, when one was eliminated, leaving two street and two stage dancers to duke it out in the final. I'm not sure who did the eliminating for the last three weeks. Travis Wall's article especially criticized the elimination of former Houston Ballet dancer Jim Nowakowski, and he lambasted the judges for criticizing him for being too technical, and then when he tried to loosen up on technique in his ballroom dance, criticized him for not being technical enough. For anyone who's watched any of these shows, contradictory criticism is par for the course. As far as criticism of the choreography, it's the same criticism I have of almost all YAGP and other competition contemporary solos: they're short and designed to be big on tricks and emotional excess and to elicit standing ovations from audiences and tears from the judges. They are meant to pack a wallop, not to show structure, development, subtlety, or maturity. I rarely watch now, because although I understand the appeal of the backstories, and ballet would kill to get millions of people to care that a dancer eats an entire package of bacon at a time, even if the SYTYCD producers are sobbing into their beer about how years ago, it used to be 10 million, I used to watch it because I could record it and fast forward through the backstories, the judges' commentary, and the commercials. Even then most of the contemporary "It's a story about a relationship..." choreography was unwatchable, even if it elicited obligatory standing ovations from audiences and tears from the judges. I get the appeal. I even understand it as an entry into watching dance. I just think much of the choreography is dreck, and the best parts are the hip-hop auditions -- the first few shows -- and some of the solos, because there's some extraordinary dancing in there. If you don't like the choreography or the excesses of the dancing -- similar to those in a lot of ballet now: huge extensions and lots of tricks -- then you're an elitist and your expectations are out of line. I was simply reared on so much better: American Bandstand.

Did they do a program where there wasn't at least one Wevers piece on it before? I think I've only missed one or two reps since they started. (I wasn't clear in my description.)

Yes: Doug Fullington does wonderful work with pre-performance presentations, which start one hour before curtain time and last 30 minutes, including a Q&A. Post-performance Q&A's are given after almost every mixed rep performance (except when there is a gala, I believe, so maybe not opening night) and after some full-lengths. (Not "Nutcracker" or the long ones.) Peter Boal hosts most of them, with Otto Neubert doing them on occasion, and there is at least one dancer, sometimes two or three at each Q&A. Once in a while a choreographer makes an appearance. They take place in the Nesholm Family Lecture Hall downstairs from the main lobby, after having been moved upstairs for a while when SIFF Cinema used the Lecture Hall as a venue. (They've since moved.) They can't reschedule a dress rehearsal to make it more tourist-friendly, and that is when the choreographers and stagers are there. (They're often on a plane after opening Friday.) It's not practical to have a range of activities on performance weekends, and PNB is not a tourist-destination kind of company. Seattle is not a big tourist destination during the Fall and Winter, especially, unless people like rain. For people who venture out for the culture, there are usually way more things to do in the same time slots, if you're interested in modern dance, theater, or the symphony. Since Seattle Opera and PNB share McCaw Hall, that's the only place there's no overlap.