sandik Posted February 16 Share Posted February 16 When the company performed Sleeping Beauty a few years ago, they said that would be the last time for that production -- it was staged by Ronald Hynd, at the invitation of former directors Francia Russell and Kent Stowell, and generally followed the Royal Ballet production that Hynd had danced. It was a lovely work, full of echt Petipa moments, but the physical production was starting to show its age. I was afraid that the company would move forward without a Beauty in their repertory, but fortunately, I was wrong. I'd heard through the grapevine that they were making plans, but I was quite surprised when I learned that they'd invited glass artist Preston Singletary to design sets for a new production. Singletary is a splendid artist in the glass world, combining the unique qualities of blown and fused glass with the formline design traditions of his Tlingit heritage -- his most recent work (Raven and the Box of Light) has toured from Seattle to Washington DC and is currently in Oklahoma City. This is a bold choice, and should make for a truly unique project. Alongside Singletary, they've asked puppeteer Basil Twist to participate in the work. While he's better known in the theater world, he's still an unusual choice, though as I think about it, his ability to created physical slight-of-hand effects would be a fascinating combination with the transformation masks found in Coast Salish performance regalia. The company has also got Paul Tazewell (whose costumes we just saw in Swan Lake) and Wendall Herrington (projection designer for Wartime Elegy) involved -- no word yet as to who will actually stage the choreography, but at this point, my eyes are looking everywhere! Link to comment
Helene Posted February 16 Share Posted February 16 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 . 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. Link to comment
Jayne Posted February 20 Share Posted February 20 (edited) They should keep the Hynd staging. I don’t mind projections in the modern works, but I like the classic 19c works to retain classic sets and costumes. i hope this is amazing, and I trust Paul Tazewell to create beautiful looks. But it would be a crying shame to lose the original steps. Leave the modernizing of SB to companies helmed by Matthew Bourne or Jean-Christophe Malliot. Edited February 20 by Jayne Link to comment
Helene Posted March 13 Share Posted March 13 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 Musical; Ain’t Too Proud; The 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 Link to comment
California Posted March 13 Share Posted March 13 This new production of Sleeping Beauty sounds VERY interesting, especially the involvement of dance historian Doug Fullington. I saw the reconstruction by Ratmansky for ABT (as I'm sure many on this site did). But this one doesn't seem to claim to be "authentic," given the setting in the Pacific Northwest. Something PNB does very well is offering additional events (rehearsals, lectures, etc.) to complement the actual production. I wonder if they'll offer a digital alternative for those who can't travel easily in January. Link to comment
sandik Posted March 14 Author Share Posted March 14 15 hours ago, California said: But this one doesn't seem to claim to be "authentic," given the setting in the Pacific Northwest. And this is the million dollar question! Doug Fullington is hip deep in the "authentic from the notation" world, but he's also immersed in the movement to excise offensive material from heritage works (like the upcoming Bayadere he's working on in Indiana with Phil Chan). I'm so curious to know how this will all come together. As I understand it, the Bayadere is keeping the heritage choreography while it's shifting the setting and the colonial aspects of the story. For Beauty, they're planning a "historically-informed staging by dance historian Doug Fullington based on Stepanov notation." On a continuum between Ratmansky and Bourne, I think we're closer to the Ratmansky end of the spectrum. But the scenic design could be moving us into very different territory. With Bayadere, it's pretty clear what contemporary audiences might have trouble with -- with Beauty, it's not so obvious. I'm wondering what we're going to see!!! Link to comment
sandik Posted March 14 Author Share Posted March 14 On 2/15/2024 at 4:46 PM, Helene said: 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. For full subscribers, yes. As I understand it, a stand-alone digital subscription for the season will be considerably more money. Still, I'm thrilled that they're continuing to offer a digital option. And a discount on parking... Link to comment
Helene Posted March 14 Share Posted March 14 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. Link to comment
California Posted March 14 Share Posted March 14 5 hours ago, sandik said: (like the upcoming Bayadere he's working on in Indiana with Phil Chan). The Indiana Bayadere by Chan and Fullington: https://operaballet.indiana.edu/events/star-on-the-rise.html March 29-30, 2024. But note that they have a live stream! No information on whether that will be free or what they would charge. If anybody learns more, please pass it along. Link to comment
doug Posted March 14 Share Posted March 14 The IU livestreams are free at https://iumusiclive.music.indiana.edu/#/. The livestream recording will live on the site for a period of time after the performances. I’ve created a page for the IU Bayadère (the ballet is titled Star on the Rise) at https://www.dougfullington.com/star-on-the-rise. Link to comment
California Posted March 14 Share Posted March 14 58 minutes ago, doug said: The IU livestreams are free at https://iumusiclive.music.indiana.edu/#/. The livestream recording will live on the site for a period of time after the performances. I’ve created a page for the IU Bayadère (the ballet is titled Star on the Rise) at https://www.dougfullington.com/star-on-the-rise. This is great news! Thank you! I'll be watching and I'm sure many on this site will be, too. Link to comment
Helene Posted March 14 Share Posted March 14 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. Link to comment
Helene Posted March 14 Share Posted March 14 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. Link to comment
Josette Posted March 14 Share Posted March 14 The Balanchine program and the new Sleeping Beauty sound like particularly good reasons for me to come to Seattle. Link to comment
seattle_dancer Posted March 15 Share Posted March 15 I am so excited for Emergence to return! It has been forever! That will be so fun to have Emergence and Mopey on the same program!!! Plus a bonus new work from Price Suddarth! The new Sleeping Beauty production is sure to be a beauty, looking forward to that rep as well. I was sad to see the Hynd staging go though. Link to comment
sandik Posted March 22 Author Share Posted March 22 On 3/15/2024 at 1:37 PM, seattle_dancer said: The new Sleeping Beauty production is sure to be a beauty, looking forward to that rep as well. I was sad to see the Hynd staging go though. I have a feeling that, with Doug Fullington doing a big chunk of the staging, the choreography will stay very true to the original material. I'm more curious about the contributions from the other collaborators. Preston Singletary does amazing work combining the Northwest Coast formline aesthetic with the specific qualities of glass art -- I'm not sure what this means about the look of this Beauty. Will they be transferring the setting, and if so, how does that work with the specifics of the scenario? Basil Twist is an incredible illusionist puppeteer -- I could easily imagine how their work with transforming physical objects would mesh with the transformation masks from the Kwakwaka'wakw tradition. So much fun! Link to comment
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