SandyMcKean

I just watched the clip and have a very different reaction. I found Allegra to be authentic and genuine. Perhaps a bit flighty, but that's part of her charm it seemed to me. I don't get "self indulgent" at all. Overall I thought the interview very effective from both parties. I enjoyed it. Perhaps living in certain parts of the world breeds a degree of cynicism in people's conversation about life that has gentle, unhearsed honesty appear disassociated with the "real" world. From my perch I found it refresehing.....so much so that I now plan to read her book.

Romeo & Juliette............. It turns out that Juliette realizes somehow that she's pregnant from her one night stand with Romeo. So after Romeo's death she decides to live for the sake of her baby. She marries Paris -- it's distasteful to her, but it's not about her anymore, but about securing a future for her baby who she plans to name Romeo.

Great word.....(and I get your meaning).

In spite of the changes, Tharp's going to be tickled pink with the likes of Postlewaite, Korbes (she's got to be healed by then!), Wevers, and Rausch (my pick for a future all stars berth), not to mention Orza (Seth), Rachel Foster, and the 2 pros who eat Tharp's stuff like hot dogs on the 4th of July: Imler and Eames. I'll throw in a couple of sleepers too.......Kari Brunson and Jordan Pacitti. ........and there are plenty of others where those came from [later edit]......and I will be interested to see if Tharp pegs Laura Gilbreath. Laura sort of "showed up" this past season in places you might not ordinarily expect her, and she delivered!

ArizonaNative, Your posts have inspired me to see this company. What months or parts of the year does Ballet Arizona typrically perform? How often? I have relatives in Phoenix and could maneuver myself down there at an opportune time.

I guess I'm just a little disappointed that the east coast didn't get to see both PNB and OBT at the top of their game. I read elsewhere that OBT was a big hit during the festival. Had PNB been able to strut its stuff more demonstrably, it might have created a bit of a stir about what was in the water here in the Pacific Northwest . If one is a balletomane and would like the natural beauty the west coast has to offer, a trip from San Francisco to Seattle via Portland might be a superb itinerary (altho the 3 company seasons may not jibe well enough for that to be practical). kfw, PNB is a very different company than what you saw in 1996. I guess that could be said for any company after 12 years. None the less, I truly believe that PNB has taken a quantum leap in the last couple of years beyond what might be considered a "normal" progression. Not only has the rep expanded into more contemporary works (while still rooted in its Balanchine traditions), but the entire company also seems newly energized with a great deal more fluidity in terms of any dancers dancing any part, more self-confidence, unleashing a here-to-fore hidden acting ability this season, all the while retaining its congenial and "just happy to be alive" atmosphere. I think next time you do get a chance to see PNB, it will live up to, and likely surpass, your fond memories (in spite of my tendency to over-hype ).

Had PNB somehow managed to dance both "Jardi Tancat" and "Agon" at the festival, I predict the reviewer (and anyone on this board who saw the performance) would be searching for under-abused superlatives to relate their impression of this remarkable regional company. I don't know why Boal did what he did -- perhaps he had reasons beyond what any of us know. But if you see PNB do "Agon" (or as Helene suggests "Square Dance"), you would see that this company's roots are alive, well, and exciting; while at the same time it extends itself to Dove's "Vespers" and Forsythe's "One Flat Thing, Reproduced".......all of which we saw here in Seattle this season.

OOPS........I thought I remembered that either you or Helene wrote something up on BT about that program. I searched the board and when I saw the word "Petipa" I thought I had found it. That will teach me to try to be sandi instead of sandy I did a proper search this time and found Helene's write up (plus some posts from the rest of us including a link to an article you did write sandik). It can be found here. Sorry.

Unlike many places in the country, at least we have lots of water!

I'm not quite the right Sandi, but I saw this presentation too. It was very informal and presented in a studio with live dancers in warmups. As the other Sandi says, it was fascinating. sandik did a write up on this for DanceView Times (a snippet and info can be seen here). I can't imagine it will be done again, or somehow "captured". This 2008 demonstration program came up in a Q&A session just a week or so ago. Peter Boal said nothing about "capturing" it, but he did mention that Doug Fullington is working on another session like this for 2009. Doug has the ability to "read" Stepanov notation, and he has mentioned that he likes to explore "lost" dances as he did for the 2008 demonstration sandik mentions; so he might end up doing something along those lines again for 2009. It looks like he is going to prepare something. So bart, come on out in 2009 to see Doug's next installment . The Seattle BT contingent will buy you a beer or two!

Carrie Imler......I worship her at her feet. Last nite's 8 Encore program was so special, so brilliant, so satisfying that it's practically impossible to single any single part of it out, but within minutes of the last curtain, I told my wife: "Carrie Imler in Square Dance was the epitome of the evening for me."

If you are a PNB fan, this entire year has to be a gargantuan highlight. This company took a quantum leap this year from extremely good, to beyond what anyone imagined. The change in this company since the mid-season Romeo and Juliet (Maillot) program has been nothing less than astounding. I give full credit to Peter Boal for his leadership, his belief in his dancers, his willingness to take risks, his use of his ballet world connections, and most of all, the inspiration he produced in the dancers and in the audience that there were still higher levels yet to be reached. Ballet in Seattle is exquisitely exciting right now. You could have cut it with a knife in the packed house at last night's special one-time encore performance that closed this most remarkable season.

I don't need the icon, I did weep (my wife was amazed that there could actually be tears welling up in my eyes as I told her about Neolani's departure). There is only one other PNB dancer whose leaving could affect me so personally. Neolani Pantasico has been my ideal "princess" dancer. No one else in the company can capture like Neolani the sweetness, femininity, grace, and youth demanded in certain roles -- her portrayal of Aurora in Sleeping Beauty and Juliette in the recent R&J (Malliot) spring immediately to mind. Part of ballet for me is the magical world of pristine perfection and other-worldliness that only this art form can deliver on such a powerful emotional level. Tears are coming again as I think back on the utter perfection of Neolani's Juliette. I remember an audience member (a somewhat older man, clearly well educated in the arts) in a Q&A session after one of the R&J performances stated that he had seen many performances of R&J, particularly Shakespeare on stage, but had never truly felt the emotions we associate with the tragedy of this young, innocent woman until that night. I suspect he is as grateful for Neolani's talent to create such iconic characters as I, a ballet fanatic, am. It's a tribute to Neolani that the stagers Malliot sent from Monte Carlo to teach R&J to PNB (and perhaps Malliot himself when he flew out to see PNB's stellar rendition of his piece) saw/felt her talent and wanted her for themselves. More power to you Monte Carlo.....you chose well.

There is also the "Choreographers' Showcase" sandwiched in between on April 9, 2008 at 7:30pm. There will be new (and naturally somewhat experimental) pieces by the following PNB dancers wearing their choreographer's hat that nite: Kiyon Gaines Barry Kerollis Kylee Kitchens Stacy Lowenberg Stanko Milov Anton Pankevitch Jonathan Porretta Olivier Wevers

Let's hear about it.

No, I don't.....altho I have met her. Bold? Hmmmmmmm. I guess I'd reserve the word "bold" for a bigger stakes game; but if you'd like to feel you've "caught" me, that's fine with me, you've caught me. Indeed I may well be wrong, but then again, knowing what I know about people, and about how the vast majority of folks feel about weight, I wouldn't bet against me. BTW, did you see these performances?

I love it that we don't agree. What could be more boring than: me too. Yes, I can see your point about Imler vs Dec. However, Carrie Imler is one of the best all around dancers I've ever seen. She creates character in a way that Lindsi can only dream about (so far that is....I have high hopes for Lindsi Dec!). OK, how shall I say it.....there needs to be a bit less of Carrie. No one knows that more than Carrie, and I'd bet it is her personal cross. Don't let that get in your way (Carrie gives her all no matter what). Next time watch Carrie's stage presence; watch her be her character, watch her relate to the audience. I'll take Carrie any way I can get her. It's really interesting to me that we differ so on Sense of Doubt. That's the best thing about ART -- different people respond differently. All I can say in my defense is that this is the only ballet from last year's Festival that Peter Boal decided to feature in a regular season program. Frankly, I think both Peter and I see a bright future for Paul Gibson (sorry, couldn't resist ) I am so jealous of you "seeing" the ballet thru the eyes of the sounder mixer. The first time I saw OFT,R I figured the sound was pre-recorded. I love the idea that it too is a one time unique performance. Lucky you for getting the insight that came from interacting with him. I'm already looking forward to seeing OFT,R again next year. P.S. I also rented the DVD on Forsythe from Netflix (tho I haven't watched it yet). If you don't know about it, check it out HERE:

I'm pleased there is someone else willing to state their reactions to this unusual program. It motivates me to state my point of view in a bit more specifically to the dancing itself. For one thing, I learned once again that a dress rehearsal isn't even close to a real performance. The movements are there, the music is there, the costumes and scenery are there, but the spirit isn't. My previous comments on the dances themselves were after having seen only the dress rehearsal, and as such aren't worth much given the artificiality of a dress rehearsal. Since then I have seen 2 real performances of this program and now have some confidence in my true reactions to these pieces. julip, naturally my reactions are different than yours (I love it when folks see the same piece very differently). Our biggest difference is with "Sense of Doubt". I find Paul Gibson's piece extremely exciting and satisfying. In spite of what some may say, I do think that the themes of mystery, intrigue, and suspicion are fundamental to this piece. It was that sense of intrigue that unified the piece for me, and that would make a Mozart setting completely different (take the ending of the dancer with her back to us, walking away in mysterious light, suddenly turning her head directly toward the audience, then black out.....no fit with Mozart there). To my eyes, Gibson did some very innovative things in his choreography while still maintaining the overall classical feel. For me, Paul Gibson's choreography is brilliant. He is one of the best of any new choreographer I have seen who is so firmly rooted in the classical style -- a rooting I am very glad about. I thought the company danced it to perfection -- at least the 1st cast did (opening night and 3/14)....I thought the 2nd cast (3/16 matinee) was not quite up to the same level -- altho I did greatly enjoy Lindsi Dec in the PdD role (but it is not fair to compare Lindsi with the master Carrie Imler). In fact, I thought the entire piece was really missing something without the dramatic talent and perfection of dancing Carrie Imler brings to the piece. I too found "Fur Alina" enchanting. I was ho-hum at the dress rehearsal, but in the 2 real performances I totally loved it. In fact, it may turn out to have been my favorite of the entire program. I can tell you why too.....Louise Nadeau. After the performance, as I walked up to the room for the Q&A session that happened to include Louise as Peter Boal's dancer companion, I was considering what I might say about the way Louise danced that night (I often say something at these sessions), and the word that came to me immediately was exquisite. I wanted to compliment Louise with that word as one of the first speakers, only to have the wind taken out of my sails by Peter Boal himself who introduced Louise Nadeau as being an "exquisite" dancer. WOW, I thought what are the odds he would use the exact word I was thinking. Well, perhaps exquisite is the only word to properly describe Louise's dancing in "Fur Alina" because several minutes later a lady from the audience took the floor and sang Louise's praises beautifully, and nearly the first word out of her mouth was the word "exquisite". Is it the dance or the dancer? Hell if I know. What I do know is Louise in that piece was pure heaven.....exquisite heaven. (Incidentally, I thought Karel Cruz did a magnificent job of partnering her. He is very poetic in his moves. This is perhaps the first time I really felt some sense of uniqueness and command from him on stage.) I really like your description of "Vespers". I'm right with you on that one for all the same reasons (altho I couldn't have put it as well as you were able to above). I may have "gotten into it" a bit quicker than you, but it did take a while for the rhythms to permeate my being (after the first solo I think). But then again, I like to let myself go like that. The most interesting piece surely was "One Flat Thing, Reproduced". I can't say I exactly loved it, but I can say that at the dress rehearsal I didn't even know if I liked it. Then after real performance #1, I knew that it was in my personal "like" group as opposed to my "don't like" group. By performance #2, I knew I liked it very, very much and wanted to see it again. BTW, Peter Boal said in one of the Q&A's that "One Flat Thing, Reproduced" will be done next season as the shocker (my word, not his) part of a more traditional mixed bill. I guess I see Forsythe's piece as exciting and wonderful to watch because it does have such aliveness as you say so well, but also because to me it is a sort of lexicon of possible modern/balletic crossover moves. It's sort of like a Rosetta Stone -- complete unto itself, but also a key that can unlock so much more in the future. Bottom line......thanks PNB for bringing this unusual program, and especially to the big donors that made it possible to have such challenging pieces placed before us since the house was less than half full I'd say -- as I suspect a program like this typically means.

I heard Peter Boal say recently that Le Yin has been plagued by injuries. He did not indicate whether Le would have a future relationship with PNB or not.

(Helene......this is for you .....you know why ) I went to the dress rehearsal Wednesday night. Here are my impressions in brief. This program is billed as "Director's Choice". Once a season, about mid-season, Peter Boal does a program entitled "Director's Choice". The title is self-explanatory, but what is not so obvious is: What message is Mr Boal sending with his selection and to whom? The pieces are: "Sense of Doubt" by Paul Gibson (Glass), "Fur Alina" by Edwaard Liang (Part) [umlauts omitted], "Vespers" by Dove (Rouse), and "One Flat Thing, Reproduced" by Forsythe (Willems). Quite a collection of contemporary pieces mostly by relatively young and world known choreographers (well, OK, so Gibson isn't world renown yet......but he will be, mark my words). So what's Boal saying with these pieces? I think he is telling the Seattle audience: "Yep, ballet can get this crazy, this different, this fresh, this demanding....can you dig it?" The PNB audience has been raised under the sure hands of Kent Stowell and Francia Russell to a diet of primarily classical and neo-classical pieces with the occasional sojourn into something really modern (it was under their direction that I saw my first Forsythe....an experience I will never forget). But like everything else Peter Boal has done, he is taking things to a new level. This program blows the doors off of anything "expected" and "accepted". Some here in Seattle are going to dislike this program. Some are going to say that this is not ballet (or at least not what they think of when they think of ballet). Others, probably younger and perhaps newer to ballet, are going to say WOW, I didn't know ballet could be like THAT. I suspect the former may come less often to PNB, and the later will be coming more often than they had planned to. There is a shift a foot I think. Boal is taking the "temperature" of the audience with this program. Just how much heat in the kitchen can you take? I doubt anyone knows the answer YET. I surmise this program is sending messages to other groups too......the dancers for example. Imagine a competent, talented dancer who has just finished blowing their (and everyone else's) mind with Malliot's R&J last month as they discover just how great actors they can be; and now to be thrown into something like Forsythe's "One Flat Thing, Reproduced". I can't think of 2 pieces more similar, and yet so completely and totally different. My guess his message to his dancers is: "See, I told you, you can do anything....and do it well!". Last, I suspect that Mr Boal is "speaking" to the world of dance. I am amazed as I think of the coveted pieces he has somehow convinced jealous choreographers to allow to migrate up into this provincial corner of the world (justifiably jealous.....quality and proper interpretation are everything): Dove, Forsythe, Mailliot, Twarp, Robbins, Parsons, Duato, Wheeldon, and even the Balachine Trust with a full performance of Jewels for the first time. I think his message here is: "Thanks for trusting me, you knew I could deliver, and I have, or rather my dancers have. Incidentally, we're only getting started. Take a look." Overall, I can't say I loved every minute of the entire program, but I was an easy mark for "Sense of Doubt". I fell in love with it last year at a festival PNB did. I will be excited to see it before the full audience as it deserves to be. I thought it lacked pep at the rehearsal, and I suspect Gibson did too because he was up on stage during "notes" pushing the orchestra faster and faster until I got turned on just with the re-do's. Neolani Pantasico was in the solo role and once again, as always, she can do no wrong by me. Vespers was like nothing I'd ever imagined. It is inspired by memories of Ulysses Dove's grandmother in a small church (Baptist?) where she met with other woman to worship. The "music" is all percussive; in fact, if I remember right, it is all drums, with the most wonderful changing rhythms imaginable (solidly based on jazz I'd say). The dance is an interaction of 6 women and 6 chairs that defies description. I was enchanted. Now the less accessible pieces. "Fur Aline" I need to see again (and will Friday night -- my subscription night). The words that come to mind are "minimalist" and "classical". It was more like a moonlit night than the full rush of day. I didn't know what to think. Then comes "One Flat Thing, Reproduced". I've loved every Forsythe I've ever seen, but I don't know about this one. I could hate it, as I'm sure many will, or it could do some magic on me and thrill me more than I would ever expect. The movements are....I don't know....gymnastic maybe? All I could think of as I sat there watching it was that I was being given an opportunity to look "inside" an ATOM to see all its quantum mechanical glory of order in chaos: where everything moves according to strict laws (the tables) but with the "youthful" abandon of the Uncertainty Principle's overriding demand that there be no rules. Right now I have no idea how I feel about it. One final thought, if you are in a mood where ballet just doesn't seem to stimulate you like it used to, come see this program......you won't be visiting any old corners of your mind that night !

Ray, you are taking me far too literally; plus you are adding a judgment angle to my observations that I didn't intend, nor do I believe such a judgment is warrented. I did not say that ambition is the only factor that determines promotion; but I am only saying that I believe it to be a factor. I'm not sure what you mean by "comfortable", but what I meant was that some dancers seem perfectly content to remain in the corps. I have little doubt that there are comforts in staying out of the spotlight, in not having to live up to the expectations of others (especially unreasonable expectations), in not being as competitive as others, in not having critics tear you apart. And furthermore you totally misinterpret my comments about those dancers who are outgoing in public. I am talking about "who they be" not about loudness or shyness. Qualities like commitment, ambition to be the best, and leadership are far more subtle than the simple parameters you seem place on them. You cast a negative light on these distinctions as if you yourself have been a victim of ambitious people. That is certainly not where I was coming form.

One factor that's been implied in this discussion but not singled out, is just plain old ambition. I find it hard to believe that a ballet company is all that different compared to other enterprises that pursue the production of a quality product. Some people are content to remain "comfortable", others push their "bosses" to notice them, to give them opportunities, and yes, some even indulge in competitive "one ups manship". I feel this instinctively every time I sit a Q&A session at PNB. Some dancers seem to relish being in the limelight, sitting on a stool next to the artistic director, holding a microphone in their hands, looking out onto a sea of hundreds of fans, other dancers seem to want to crawl into a hole. I believe I can find a pattern there where the more "outgoing" and engaged dancers I see at these Q&A's are also the ones that seem to get promoted the fastest. I don't think this observation is a coincidence.

I'll be there Sunday night. I recently saw Julie in her Seattle Dance Project debut. She is making dance in initmate settings happen here in Seattle.

I haven't stopped laughing about this all day. Thanks

Read our very own sandik's 2/6 Seattle Weekly review of this production here: http://www.seattleweekly.com/2008-02-06/ar...traditional.php P.S. This production is getting terrific reviews nearly everywhere I look......all well deserved I might add.