Pacific Northwest Ballet at the Koch in June

[vipa]

I'm really excited about seeing PNB at the Koch. Especially for choreographers Cerrudo and Pite. Just wanted to say reasonably priced tickets are available. I just got a couple of tickets - 2nd ring, row A, centerish for $40 each. 

[Helene]

Plot Point is The Bomb.

[seattle_dancer]

6 hours ago, Helene said:

Plot Point is The Bomb.

Yes it is and you will probably need to see it at least a second time.  It isn’t exactly dance, it’s more like structured movement so I do know one person who dislikes it for that reason.  But I think it’s fascinating and I could see it over and over!  It should go over well with New Yorkers since they see a lot of theater.

Somewhere I read almost 70% of the tickets are $40 for the Joyce’s 40th anniversary and $50 for PNB’s upcoming 50th anniversary.
 

 

[SandyMcKean]

Quote

It isn’t exactly dance, it’s more like structured movement so I do know one person who dislikes it for that reason.

To each his own, I guess. But I find it strange that someone would dislike Plot Point for that reason.  I wonder how they would react if the piece was shown in an non-descript auditorium with a poster that said something like "See a Fascinating Drama in Structured Movement". Would they like it or dislike it?? From my POV, it may technically not be labelled ballet (or even dance), but frankly, I can't imagine anyone not ballet trained being able to do it (at least not well).

[Helene]

There's also dance in it, like in the cocktail party scene.

[nysusan]

Can any of our PNB watchers tell me if they have an extraordinary Diamonds ballerina these days? I bought a ticket for one of the mixed bill programs but not their gala. Their Koch visit is up against ABT at the Met and if feels like they only announced it something like 2 weeks ago. I (and most people I know here) booked my ABT tickets months ago and I'm going to ABT on 6/22. I'm loathe to start trying to switch things around for an unknown quantity. I mean, if we were back in the Korbes days I'd switch immediately with no hesitation but I don't know PNB's current dancers and we get a lot of really great Diamonds ballerinas here.

Any thoughts?

[Helene]

The last time PNB performed Jewels was in 2017, when the ballerinas were Lesley Rausch (opening night), Noelani Pantastico (now faculty at Central Pennsylvania Youth Ballet), Sarah Ricard Orza (retired, alas), and Elizabeth Murphy.  It was scheduled for Fall 2020, but the first half of the season programming was scrapped because of COVID-19 and casting never revealed (unless there were practice clips on dancers' social media); that would have given a better clue for potential leads.  That staging was by the late Elyse Borne.

Rausch just danced a stellar Odette/Odile with James Kirkby Rogers, and she would be my bet for that single performance.  (I'd hope he'd get to partner her in Diamonds, too.)  She is the Senior Ballerina in the company, and, given how sporatic tours have been, it may be the last time NY audiences can see her in a tutu role.  But there's no guarantee, and I don't know who else besides Murphy would be considered.

If you can only see one PNB performance, then you might choose by rep: if you're more interested in the Pite (where Murphy was spectacular in one ensemble cast) than comparing company approaches in Balanchine, then you can see it and the Tharp in the same program.  Or if the casting comes out, and you can make a last-minute decision, you could wait until then.  I don't know if you can switch to the Saturday matinee if you want to see Hurlin and Bell.

[SandyMcKean]

Quote

Rausch just danced a stellar Odette/Odile with James Kirkby Rogers, and she would be my bet for that single performance

Me too.

As I've often said, I am a huge Rausch fan; however, none of us is perfect. If I were forced to find a negative about Leslie, it would be that she can be a bit cool (much like her doppelgänger Patricia Baker). But IMHO that coolness is exactly what you want for Diamonds. Go see Rausch, you won't be disappointed. But I personally wouldn't miss Plot Point for all the tea in China (unless you are a classical diehard).

Edited May 21, 2022 by SandyMcKean

[nysusan]

Thanks, Helene and Sandy for the input.  I am definitely a classical diehard, but have occasionally liked other types of dance and I'm going to the Sat eve program so we'll see how that turns out. Will make a last minute decision about switching my ABT tickets. I'd like to see Diamonds but then again, some part of me still wants to keep Kowroski's last Diamonds performances in my minds eye so skipping this one might not be a bad thing. There's plenty of time to decide.

[Buddy]

21 hours ago, Helene said:

If you can only see one PNB performance, then you might choose by rep: if you're more interested in the Pite (where Murphy was spectacular in one ensemble cast) than comparing company approaches in Balanchine, then you can see it and the Tharp in the same program.  Or if the casting comes out, and you can make a last-minute decision, you could wait until then.  I don't know if you can switch to the Saturday matinee if you want to see Hurlin and Bell.

Thanks, Helene and Everyone.

Like many, I haven't been to a performance in over two years. Wanting to visit my family in Philadelphia, I've arranged it so that I can see some stuff in NYC as well. I've got a ton of ABT Swan Lakes and an ABT Ratmansky the night before. 

With only Sunday, June 26, left, Voila!

Dancing on the Front Porch of Heaven (Odes to Love and Loss) – by Uysses Dove
Plot Point – by Crystal Pite
Waiting at the Station – by Twyla Tharp

I've never seen PNB so I'm greatly looking forward to this. 
 

[Helene]

You'll see a great range in the company in one visit with either of the triple bills.  It sounds like a great week of ballet!

[Buddy]

22 minutes ago, Helene said:

You'll see a great range in the company in one visit with either of the triple bills.  It sounds like a great week of ballet!

I'd rather be "Dancing on the Front Porch of Heaven" than "Waiting at the Station," but for Twyla Tharp I'll do it.   🙂

Thanks, Helene.

[Helene]

For those who haven't seen it, here's a video of two excerpts that Kurt Froman posted to Instagram:

https://www.instagram.com/p/Cd4e_cHIOA3/

The video itself isn't the greatest quality at the beginning (given the lighting), but we're lucky to have it.

[Roberta]

Only one performance of Diamonds? Very little neo-classical...no classical. Waiting at the Station, with all-R&B score, every night? I'll pass on this run.

 

[SandyMcKean]

Diamonds is not really part of the program. It is a one time "bonus" strictly for the Gala.

[seattle_dancer]

Casting and program notes for the NY tour can be found here:  https://www.pnb.org/season/touring/casting/

For the program notes:  click on the name of the ballet to drill down.  There will be notes and particularly for Diamonds and Plot Point there are videos.  Some of the others just photos.  If you are on the fence buying tickets maybe the videos will be helpful.  In any case, if you are a Jewels fan, check out the Jewels at 50 video.  It has wonderful footage of Jacque D'Amboise, Mimi Paul, Violette Verdy, and Edward Villella, all of whom Peter Boal asked to come to Seattle to coach his dancers.  I also loved seeing some of our dancers who have moved on - Carla Korbes, Jonathon Poretta, Lindsi Dec, and Maggie Mullin.

Sunday evening we had our Season Encore performance where we honor and say good bye to departing dancers, but it appears Peter Boal also used it as an opportunity to run through some of the NY tour.  We saw Little Mortal Jump, Dancing on the Front Porch of Heaven, and the Diamonds Finale.  Lesley Rausch was not in Front Porch on Sunday I thought that was odd but I see she'll dance in NY.  Jonathan Batista made his debut in Front Porch on Sunday and he was terrific.

Earlier in the day I saw Waiting on the Station, with James Moore as the Father.  Twyla Tharp made the role on James Moore he is so smooth and charismatic and Josh Archibald-Seiffer was a standout on the piano.  I also saw Kuu Sakaguri as the Son for the first time; he has a very special spirit and energy.  Kuu also danced David Dawson's Caught in the Encore program and blew us all away!  Angelica Generosa danced as part of a principal couple after dancing the Blue Couple in Brief Fling, which is like a marathon.  She has great technique and control, but in Station, she also shows off what a great actress she is and her funny facial expressions.  She trained at SAB then Peter Boal hired her, and I'm so glad.

[FayBallet]

Did anyone attend last night? Please share your thoughts!

[abatt]

I attended last night.  Very much enjoyed Tharp's Waiting at the Station.  Very entertaining.

I was happy to see Diamonds. However, the lead ballerina, Rausch, was in my opinion no match for the exquisite performances of our home team at NYCB.  Particularly in her solo, there was none of the expansive, go for broke dancing I'm used to seeing from Mearns.  The male lead (don't have my program so I can't recall who danced it) was wonderful.  He dances with elegance and refinement,  and his landings were in perfect fifth position.

Grateful for this visit from PNB. 

 

[Royal Blue]

While more cautious than daring, Lesley Rausch nevertheless gave an indubitably regal performance in Diamonds. In the male lead role James Kirkby Rogers was outstanding also. Ironically, it was the first performance of Diamonds at this theater since the start of the pandemic. Absolutely delighted to watch the ballet again ... with a company sadly unfamiliar to me, yet considered one of the premier ballet companies of the USA! (NYCB regulars in attendance likely noticed one recognizable face among the female corps.)

Waiting at the Station is way less morbid than one might surmise given the subject. In every respect —overall production, music and choreography— it is a gratifying work. And what dancing! Particularly noteworthy were the performances by James Yoichi Moore, Kyle Davis, Angelica Generosa and Elizabeth Murphy.

[FayBallet]

Thank you both!

[vipa]

I saw the PNB Sat. Mat and enjoyed it very much. It's rare for me to watch a program of three different contemporary choreographers and enjoy them all! I believe my favorite was Chrystal Pite's Plot Point. I'd love to see it again, and really wish that New York companies did her choreography, I'd love to see more of it. She presented, summed up, and captured, every cliche, common plot devise, emotion, and tone found in film noir and did it in a sometimes sweet, often funny, always entertaining way. I found the choreography ingenious. 

Tharp's, Waiting at the Station, IMO, shows Twyla at her best. Great structure, moving groups around fantastically, interesting choreography, and fun music. The Three Fates got the best roles! The locomotive coming in at the end was way over he top, but if you have the budget, why not!

The program opened with Cerrudo's, Little mortal jump. I've seen a bit of his work at the Joyce, but he's another choreographer I wish we'd see more of in New York. I love the movement quality that he creates.

I don't dare mention individual dancers. I'm not very familiar with the company and the list of replacements read by the stage manager, both at the start of the show and before the last piece, was mind blowing. My guess is that COVID hit the company. Two dancers in the Tharp work danced wearing medical face masks.

Comment on the rep. I know Diamonds was done on opening night, but after that there was no "standard" rep familiar to NYC audiences. On one hand, I'm had I got to see the pieces and choreographers I saw. On the other, I love seeing companies do standard rep, be it Balanchine or Petipa, because it's interesting to see the tone another company can bring to a piece, and it's nice to see how dancers measure up in classical or neoclassical ballets. One can't have everything. I had an enjoyable afternoon!

 

[uptowner]

I was there on Friday night and thought it was terrific. I was also shocked at how many empty seats there were in the theater-- especially given how inexpensive the tickets were. I was there with my teenage ballet dancer and he was really thrilled by the program and the dancing. 

[SandyMcKean]

Quote

I was happy to see Diamonds. However, the lead ballerina, Rausch, was in my opinion no match for the exquisite performances of our home team at NYCB.  Particularly in her solo, there was none of the expansive, go for broke dancing I'm used to seeing from Mearns.

I can see why someone would react to Leslie this way; however, I've been watching her since she was an unknown at the back of the core. Leslie is just not a highly expressive person (at least outwardly). She's more of a "cool customer". She lets her dancing speak for her. She often reminds me of Patricia Baker who was a prima ballerina at PNB many years ago (and the idol of Leslie as a student). I believe Baker was often referred to as the "Ice Queen". Leslie emotes with her elegance and musicality (if you want a real treat somehow see Rausch dance to Stravinsky). "Go for broke" just ain't Leslie's style.

Edited June 26, 2022 by SandyMcKean

[Kathleen O'Connell]

On 5/18/2022 at 9:13 PM, Helene said:

Plot Point is The Bomb.

It sure is! I saw today's matinee performance (6/26/22) and wanted to see it again immediately. 

On 5/19/2022 at 3:56 AM, seattle_dancer said:

It isn’t exactly dance, it’s more like structured movement

On 5/19/2022 at 3:14 PM, SandyMcKean said:

From my POV, it may technically not be labelled ballet (or even dance), but frankly, I can't imagine anyone not ballet trained being able to do it (at least not well).

"Structured movement" puts me in mind of Robert Wilson's work for the opera stage—i.e., movement crafted for non-dancers and designed to integrate with the overall production design in order to achieve particular theatrical / dramatic effects. I don't see how someone who wasn't a rigorously trained dancer could have performed any of the roles in Plot Point. It's much "dancier" than Pite's cinematic effects make it seem at first glance; there's real dance logic to the movement and it's firmly grounded in the music. I'd label it dance for sure.

Dove's Standing on the Front Porch of Heaven is an echt 90's ballet, from the Arvo Pärt score, to the white unitards, to the moody pools of light, to the random outbursts of faintly absurdist gesture that is rooted in neither dance logic nor dramatic expression, to the placid, mournful solemnity. (Since Pärt's score is only about 8 minutes long, we hear it three times through.) There are some genuinely compelling sections—e.g., the central pas for two of the men, or the sections where the ensemble joins hands in a circle and cycles through a series of kaleidoscopic patterns. But overall the work looks dated and made me realize how old I am: I remember when this kind of thing was new. 

Tharp's Waiting at the Station was fine. I wouldn't rush to the theater to see it again, but I certainly wouldn't object if it happened to be on the program with something else I wanted to see. The choreography is fluent, but the whole premise of the ballet is just plain hokey. And why two lead couples? I couldn't see that they were particularly distinct in any way: I kept waiting for the pas or solos that would give them different stories.

I'm glad PNB brought Pite to NYC since we don't get to see much of her work here. The dancers were all terrific, and so were the musicians. 

Edited June 26, 2022 by Kathleen O'Connell

[Helene]

58 minutes ago, Kathleen O'Connell said:

"Structured movement" puts me in mind of Robert Wilson's work for the opera stage—i.e., movement crafted for non-dancers and designed to integrate with the overall production design in order to achieve particular theatrical / dramatic effects. I don't see how someone who wasn't a rigorously trained dancer could have performed any of the roles in Plot Point. It's much "dancier" than Pite's cinematic effects make it seem at first glance; there's real dance logic to the movement and it's firmly grounded in the music. I'd label it dance for sure.

Pite has used structured movement in the first half of Betroffenheit, but I agree completely that Plot Point  is dance.

 

58 minutes ago, Kathleen O'Connell said:

And why two lead couples? I couldn't see that they were particularly distinct in any way: I kept waiting for the pas or solos that would give them different stories.

 

In the original cast, the leads where very distinguished from each other temperamentally, one the more long-married, and the other with the younger(ish) woman who catches the married man's eye.  Vocabulary-wise, though, the different isn't built in.