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Encores Program, 9 June

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Here's the info from the press release:

SEATTLE, WA -- Encore! Encore! Pacific Northwest Ballet celebrates the conclusion of its unforgettable 40th Anniversary Season of breathtaking performances, world-class choreography, and the outstanding PNB Orchestra with its annual SEASON ENCORE PERFORMANCE! In addition to performances of nine audience favorites, the evening also includes a season-in-review photo montage and an honorary stage bow for Company dancers from the last 40 years. The SEASON ENCORE PERFORMANCE will be presented one night only, Sunday, June 9 at 6:30 pm at Marion Oliver McCaw Hall, 321 Mercer Street. Tickets may be purchased exclusively through the PNB Box Office (206.441.2424, online at PNB.org, or in person at 301 Mercer Street at Seattle Center.)

"Our 40th Anniversary Season has been one to savor and to celebrate," said Artistic Director Peter Boal. "During our annual Encore performance we'll revisit a sampling of the rich repertoire that graced our stage over the past year. We'll look back with pride at a season brimming with world premieres, national and international touring, guest artists, new works, old favorites, and more ovations than we could count. All 314 former PNB dancers have been invited to attend this fireworks finale and many will join us on stage to take a well-deserved bow."

The line-up for the 40th Anniversary SEASON ENCORE PERFORMANCE includes:

Concerto Barocco

Music: Johann Sebastian Bach

Choreography: George Balanchine © New York City Ballet

Mozart Pieces(excerpts)

Music: Wolfgang Amadeus Mozart

Choreography: Paul Gibson

Cinderella(Act III pas de deux)

Music: Sergei Prokofiev

Choreography: Kent Stowell

Swan Lake(Act II excerpts)

Music: Peter Ilyich Tchaikovsky

Choreography: Kent Stowell (after Lev Ivanov)

Sum Stravinsky (3rd Movement)

Music: Igor Stravinsky

Choreography: Kiyon Gaines

Dancing on the Front Porch of Heaven (2nd Movement)

Music: Arvo Pärt

Choreography: Ulysses Dove

Roméo et Juliette (Balcony pas de deux)

Music: Sergei Prokofiev

Choreography: Jean-Christophe Maillot

Agon(Pas de deux)

Music: Igor Stravinsky

Choreography: George Balanchine © The George Balanchine Trust

Diamonds (Scherzo & Polonaise)

Music: Peter Ilyich Tchaikovsky

Choreography: George Balanchine © The George Balanchine Trust


Pacific Northwest Ballet’s Season Encore Performance is one night only on Sunday, June 9 at 6:30 pm at Marion Oliver McCaw Hall, 321 Mercer Street at Seattle Center.

Tickets ($28 - $168) may be purchased through the PNB Box Office:

Phone - 206.441.2424 (Mon.-Fri. 9am -- 6pm; Sat. 10am -- 5pm)

In Person - 301 Mercer Street, Seattle (Mon.-Fri. 10am -- 6pm; Sat. 10am -- 5pm)

Online - pnb.org (24/7)

90 minutes prior to each performance at McCaw Hall (Subject to availability.)

Group discounts are available by contacting Julie Jamieson 206.441.2416 or juliej@pnb.org

Please Note: Student/senior rush tickets are available -- with valid ID -- 90 minutes before the performance. Teen Tix members may purchase tickets day-of-show, however the Sunday companion offer does not apply for this special performance. Rush and Teen Tix discounts are subject to availability

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hmmmmm....I like it all ****except*** I'd trade out Cinderella ppd and sub in Act III of Swan Lake. I'd rather have 2 principals show off their chops as O/O on the Encore night. I might step out for a glass of wine during the Cinderella ppd. Yawn. Excited to see the rest, though!

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hmmmmm....I like it all ****except*** I'd trade out Cinderella ppd and sub in Act III of Swan Lake. I'd rather have 2 principals show off their chops as O/O on the Encore night. I might step out for a glass of wine during the Cinderella ppd. Yawn. Excited to see the rest, though!

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hmmmmm....I like it all ****except*** I'd trade out Cinderella ppd and sub in Act III of Swan Lake. I'd rather have 2 principals show off their chops as O/O on the Encore night. I might step out for a glass of wine during the Cinderella ppd. Yawn. Excited to see the rest, though!

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Only casting info from an official and public source is valid here. Casting posted for company use in their studio building is off-limits.

Casting is listed on the website at this link:


Both a Cinderella excerpt (Foster/Porretta) -- it doesn't say which Pas de Deux -- and excerpts from "Swan Lake" Act II (Chapman/Tisserand/Neubert) and Act II (Imler/Bold) are listed.

Korbes is listed for "Diamonds" with Seth Orza. (He's been partnering Kaori Nakamura this rep.)

This is a list to running times on the PNB website:


We get 4 minutes of "Cinderella," 9 minutes of Act II of "Swan Lake," 8 minutes of Act III, and 16 minutes of "Diamonds."

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I’ve been meaning to write a little something about the program, but the dance season here is only now calming down, and I’ve been busy. But assuming that late is better than never, here’s a short report.

Peter Boal gave a brief curtain speech about the company’s 40th anniversary (which makes me feel a bit old, since I remember before they were an item). He had the usual list of statistics: this year they went out on the road four times, presented six world premieres, hosted several guest artists (my pen slipped). Over the life of the company they’ve had 314 dancers, and 70 of them were in the house. He had them stand, and we all craned our heads.

They ran a slide show from this season before the curtain went up – the orchestra played selections from Firebird, which works really well for this kind of thing. (they used it for a grand defile when Russell and Stowell retired).

Concerto Barocco: They gave just the 2nd and 3rd movements, due to a last-minute corps injury. Laura Gilbreath and Joshua Grant gave a lovely performance – they’re a good fit proportionally, but even more, they seem to have a similar feeling for rhythm and detail.

Cinderella, act 3 duet: This is really quite short, I hadn’t remembered it as being so brief. Jerome Tisserand and Rachel Foster, also a good match proportionally. Both have a really nice flow here, and the choreography seems to keep Foster moving without tension.

Mozart Pieces: The male quartet is as fleet as I remember it, very clean performance from everyone and crisp relationship to the score. When Nakamura enters in the trio, with an assemble and a little salute, it always makes me think of Daughter of the Regiment. She’s sharp and detailed, but mobile, not fussy. Sean Rollofson takes a solo bow here, not sure what that means, but find out later that he’s decided to leave the company, so this is his last performance.

Swan Lake, pas de quatre; Odette's variation, coda, and finale; Black Swan adagio and coda: I know that people are always excerpting this ballet, or shifting different sections around, but after seeing a nice long run of the full production, the bits and pieces version seems awkward. Some lovely performances, though – Maria Chapman has really settled into the role (since her debut). She still has room to develop, but that should come with time, which I’m pretty sure she’s got. Tisserand is her Siegfried – he’s not really afraid of Von Rothbart at the beginning so much as he’s bewildered, playing along with his infatuation with Odette. Carrie Imler bursts onto the stage for the Black Swan, and gets a big smile from her partner (Bakthurel Bold). He’s really just there for the show – she needs very little actual help with this role. She’s very aware of her affect, and you can tell her responses to him are all finely calibrated. She nails the fouettes, with the same pattern that she uses in the studio video from PNB (two singles and a double with arms en couronne, all the way through). It’s a true party piece as she dances it, and she gets an incredible response from the audience – the first standing ovation of the performance.

Sum Stravinsky: I’m convinced that dancing to Stravinsky makes everyone look smarter – he wrote such challenging patterns we’re impressed when we feel we understand them. Leslie Rausch looks great in this, snappy and sharp. Bold is an excellent partner for her here – he really mirrors her and then steps in when she needs him.

Front Porch of Heaven: Andrew Bartee and Tisserand make the articulations of their duet very clear – they understand how to keep the action moving even through stillness. Everyone in the work look very dedicated to the choreography – there’s a strong sense of tension throughout.

Romeo and Juliette, balcony scene: It occurred to me as I was watching this that it must be the “official” balcony scene with no actual balcony, since they have done this part without a set piece in the past. They manage the differences in the narrative flow quite well, but I do miss some of the particular moments from the “with ramp” version. Nakamura and Moore established a strong partnership during the run of the ballet, and they’ve held onto it here.

Diamonds: The chandelier is still spinning when the curtain goes up – that’s the difference between a 20 minute intermission and a couple minutes between excerpts. I don’t think that Orza danced this with Imler during the regular run, but you couldn’t tell from here – they were very secure. Orza’s solos were about speed and attack, less about finesse – he’s more of a guy than a prince here. Imler made the contrast between inward-curved shapes and big pique arabesques really dynamic.

Curtain call: Alas, this could have used a run-through, or at least better planning. They had all the former dancers backstage for this, and it could have been really dramatic. But instead of filing in sequentially, like a defile, they all just wandered out on stage after the Diamonds cast took their bows. And then Russell and Stowell came out, but they were hard to see amongst everyone else, until Boal joined them and they stepped downstage a little further. It was lovely to see so many bodies there, but we would have really enjoyed a chance to see them in increments, so that we could play the “oh look, it’s fill-in-the-blank” game.

Apparently Sean Rollofson is leaving to try his luck in NYC – he’d like to perform in musical theater. And Jenna Nelson is leaving as well, but she didn’t want to take a solo bow, so she didn’t get a moment for herself like Rollofson did.

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