Pacific Northwest Ballet-Afternoon Ball (Plus Dancer Commentary)

Check out this fun rehearsal video for Twyla Tharp's "Afternoon Ball" featuring commentary by PNB dancers Chalnessa Eames, Jonathan Poretta and Olivier Wevers. (I can hardly wait to see it! Two weeks left...woohoo!)

PNB's Dancer Profile-Carla Körbes

Check out this great behind the scenes peek at one of Pacific Northwest Ballet's top ballerinas! {I can't wait to see more dancer profiles in the weeks ahead! Particularly Lindsi Dec and Laura Gilbreath!!! :) }

Review: Pacific Northwest Ballet's "The Sleeping Beauty"

What a gorgeous evening! There are simply not enough adjectives to describe the splendor of Pacific Northwest Ballet’s The Sleeping Beauty. This outstanding company of dancers whisks its audience deep into the heart of this beloved fairy tale, thrilling and delighting both young and old alike.

The scenery and costumes designed by Peter Docherty are lush, vibrant and visually delicious. Enchanted foliage moves to ensconce the royal castle. Costumes shimmer and sparkle with life of their own. Aurora’s bower is delicately ornate and enveloped in a golden beam of light.

The Christening

The opening Christening Scene exceeded all expectations. Otto Neubert (King Florimund) and Victoria McFall (the Queen) are poised experts of their craft. Their characterization is well-established and believable.

The seven enchanted fairies and their cavaliers were dazzlingly in sync. The Cavaliers, with their impressive turns and jumps, were thrilling to watch. The fairies were perfectly cast, each bringing their own unique style and interpretation to the role. Most memorable solos include Lindsi Dec’s (Fairy of Wit) spunky finger pointing and skillful pointe work, and Chalnessa Eames‘ (Fairy of Generosity) charming, slightly coquettish performance.

The Lilac Fairy

Carrie Imler’s interpretation was not only masterful, but exhibited a profound sense of strength under control. I got the distinct impression that Lilac could’ve really given old Carabosse a swift kick in the skirt, but chose not to because that wouldn’t be very ladylike. Their relationship seems tethered by a delicate wisp of a truce; “I will only allow you to go so far,” Lilac’s penetrating gaze warns.

Imler’s port de bras were gorgeous and fluid; her grace extending all the way through her fingertips. Her expressions were soft but commanding; her movement precise yet poetic. Imler’s Lilac seemed to care deeply about all those within her domain, and their allegiance to her was not without cause.

Pacific Northwest Ballet principal dancer Carla Körbes as the Lilac Fairy with her attendants, puts the kingdom under a sleeping spell in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Carabosse

Jonathan Poretta’s portrayal of this devilish fairy was dramatic, powerful and just plain fun. Everything from his grand, swooping entrance accompanied by the sound of crashing cymbals and stark flashes of light, to the fiendish ways in which he lashes out over not being invited to the celebration was absolutely superb! Carabosse may be profoundly wicked, but she is still no match for the Lilac Fairy’s power. One moment, Carabosse is whirling feverishly about, her cackling laughter almost audible. The next, she is cowering on the floor under Lilac’s quietly dominating presence. I was almost sorry she was stabbed to death by the heroic Prince in the end.

                  Pacific Northwest Ballet principal dancer Olivier Wevers as the evil Carabosse, and principal dancer Carla Körbes as the Lilac Fairy in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Princess Aurora

With her delicate phrasing and uncanny ability to channel the emotions of a sixteen year old Princess, Mara Vinson has secured her place as a legendary ballerina. During the famous Rose Adagio, Vinson was unfathomably brilliant. Her balance was spot-on as she greeted each of the four Dukes; her supple back hinted of the beautiful woman our heroine is to become, and her developpes unfurled toward the sky. Last but not least, those fantastic poissons (fish dives)with the Dukes and later, the Prince, were nothing short of extraordinary. Indeed, Vinson’s performance left many viewers gasping with excitement.

                Pacific Northwest Ballet principal dancer Mara Vinson as Aurora, with company dancers in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

The Prince

Yet where would our lovely heroine be without her handsome Prince? Seth Orza proved his mettle by meeting the challenges of this highly demanding ballet. Orza starts out as a dashing, slightly aloof young man who quickly becomes enraptured by the girl of his dreams (literally). He begs the Lilac Fairy to show him where she can be found, a request which the benevolent fairy is only too happy to oblige. Orza’s characterization is rich and articulate; his strength and power–sheer bliss. When he finally kills the wicked Carabosse then leans in to kiss his beloved Aurora, you have to literally stop yourself from cheering.

The Wedding

The third act of this ballet is filled with some of the most well-known and cherished variations. The Gold and Silver Pas de Trois, featuring Lindsi Dec, Andrew Bartee and Lucien Postlewaite was refreshing, effortless and commanding. I was duly impressed with how well Dec’s strength and beautiful lines held their own against Bartee’s and Postlewaite’s esteemed technical prowess and bold execution.

The Bluebirds (Rachel Foster and Benjamin Griffiths) were absolutely stunning. Griffiths shined with his jaw-dropping leaps and jumps, while Foster’s fluttering movements provided a sense of harmony and balance.

Red Riding Hood and the Wolf (Abby Relic and Jerome Tisserand) was mildly sinister yet extremely charming. I heard more than a few giggles emanating from the children in attendance.

However, it was the humorous dance between Puss in Boots (Jordan Pacitti) and the White Cat (Sarah Ricard Orza) that really got the audience’s attention. This talented duo made the most convincing pair of sparring felines imaginable. Pacitti was the ever-determined suitor vying for Ricard Orza’s finicky feline affections; Ricard Orza transformed herself into the most feisty little kitty cat, holding Pacitti at arm’s–or claw’s–length. After multiple strikeouts, Pacitti finally decides to give Ricard Orza the gift no kitty in her right mind can resist; a tasty mouse!

Conclusion

By taking on this technically demanding ballet and performing with aplomb, Pacific Northwest Ballet has once again proven itself worthy of the highest of accolades. The dancers enamored the audience with their incandescent performance and spawned a new generation of wistful Auroras!

             Pacific Northwest Ballet soloist Seth Orza and principal dancer Mara Vinson as Prince Florimund and Princess Aurora in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling

by Denise Opper, Media Relations Class Act Tutu & Vala Dancewear
All photos © Angela Sterling

Valentine's Day Interview!

Ah, Valentine’s Day! It’s the time of year when we shower our true love with tokens of affection, whether they be in the form of a box of chocolates, a gushy card, or a dozen roses (or all of the above!). In the dance world, Valentine’s Day can be especially wonderful as couples not only live, but oftentimes work, together. We decided to get an inside look at the blessings of Valentine’s Day through the eyes of the dancers themselves....(Vala Dancewear Blog)

To read the rest of my special Valentine's Day interview with Pacific Northwest Ballet dancers, Seth Orza and Sarah Ricard Orza, please click here! :)

Preparing for a Busy Weekend

We have some serious shopping and errand running to do tonight. I hate "big" shopping as the length of the receipt and the "grand total" always makes me feel a bit sick. But it has to be done because...

This Friday (just two short days from now), Dean will be flying to CA to visit his grandmother, Lyndy. She's been undergoing treatment for cancer and is now under hospice care. :(  He will leave around 5pm to make his 8pm flight. He won't return until Monday afternoon, which means I'll be all alone wallowing in self pity holding down the fort until then.

Also around that same 5 o'clock hour, my mother will be here to pick up my children and take them back to her place. Why? Because I'm going to review PNB's The Sleeping Beauty at 7:30pm in downtown Seattle.

I'm really looking forward to this performance. The Rose Adagio is one of my all-time favorites! And there's just something about hearing those first few notes of the Waltz that immediately puts me in my "happy place". :)  It's a lengthy ballet, too. I won't be home 'til after 11pm.

Then Saturday's church, provided my children are healthy enough by then. I can't have them coughing, sneezing and sputtering their germs all over the place.Yuck!

On Sunday I'm hosting a little jewelry party for our friends, Ken and Trish. (He's simply known as "Necklace Man" on Facebook! :) ) If you're in the area that day or need an excuse to get away from the Super Bowl, come on over! The party starts at 1pm. 

Now. Do you see why tonight's shopping trip is so imperative?

I'm just hoping and praying all goes well for Dean in CA. That and nothing major happens here while he's gone. I mean, aside from my usual "Woe is me, I'm all alone!!!" dramatics.

I may have to squeeze in some extra workouts to keep my mind occupied, as well as have a bunch of friends over to visit. Hey, if you're reading this, consider yourself invited! :)

Pacific Northwest Ballet's "The Sleeping Beauty"

 Principal dancers Kaori Nakamura, Carrie Imler and Carla Korbes share their experiences dancing the highly coveted, deeply technical, and extremely demanding role of Princess Aurora. :) I cannot wait to see Friday night's performance!

Viva Whim W'him!

Olivier Wevers and his newly formed company, Whim W’him have done what no other dancer, choreographer or company has done before. The Seattle-based tour de force has shattered the glass barricade that once stood as the dividing wall between the world of ballet and the realm of modern dance, ushering in a new era of collaboration and artistry.

Whim W’him’s sold-out performances at On the Boards this past weekend packed an intoxicating punch of sound, light and movement. The triple bill featured Wevers previous works, X-Stasis (PNB’s Choreographer’s Showcase 2006) and Fragments (Spectrum Dance Theatre 2007), as well as the world premiere of 3 Seasons, Wevers first major collaborative effort.

X-Stasis is comprised of 5 couples making a unique statement about their world and their relationship to one another. Standouts from this performance include Jonathan Poretta and Lucien Postlewaite’s pas de deux which sizzled with poetic tension. Their execution was both complimentary and contradictory; a raw, edgy rendition of the proverbial yin and yang.

Chalnessa Eames dazzled in a delightful piece that felt a bit like an avant-garde rendition of Coppelia. Let’s just say her partner, the helpless mannequin, was no match for her seductive charms!

Kaori Nakamura and guest artist, Karel Cruz (PNB Principal Dancer) were utterly spectacular. Their pairing was exuberant, crisp and well-balanced; the perfect blend of power, delicacy and joy.

Fragments begins with a sweeping aria playfully mimicked by an amusing pair of friends. Kelly Ann Barton’s (Spectrum Dance Theater) and Vincent Lopez’s movements were light, fluttering, and beautifully in sync. Together they encompassed all that is childlike and well--whimsical, from their “twittering” hip rolls, to their playful dashing about the stage. Following the playful antics, Vincent Lopez gave a commanding solo performance as a tortured soul, longing and yearning to be free. Moving effortlessly through a series of well-crafted poses, Lopez is transformed into a living sculpture, relishing in its temporary freedom. Costumes by Christine Joly de Lotbiniere provided a delicious hint of Victorian flair, while Michael Mazzola’s thoughtful lighting cast the entire piece in a distinct, Renaissance glow.

Last but not least, was 3 Seasons.

Never have I seen such a decisive take on our modern world that fused together the elements of style, wit, humor and hope so beautifully. In fact, I have a feeling that this piece will serve as the springboard by which all other collaborative efforts will be judged, and provide Whim W’him with a prominent position in the annals of dance history.

The musical score consists of Vivaldi’s Four Seasons paired with a live corresponding movement by Byron Au Yong, which was nothing short of perfection. The tinkling of a toy piano, the hum of the violin and gentle percussion created a fun, exciting, youthful energy.

Designer Michael Cepress’ vision of pairing vibrant splashes of red on ruddy, human earth tone canvasses provided the perfect backdrop for this piece. The use of his re-designed sculptural collars, wire hanger skirts, and sullied leotards made for a stunning artistic display.

Jim Kent’s portrayal of the covetousness of human nature was thrilling. The object of his desire changes with whatever is put before him; a pillow, a lamp, a keyboard to finally a bird cage, which has to be placed on his head because there’s no more room in his hands. Kent—like society itself—is never content with what he already has, and is continuously seeking, grasping, and vying for more. The act was played for humor which the audience responded with more than a few “been there, done that” laughs.

Kaori Nakamura is used, abused and finally discarded and yet—she still manages to come out looking like the victor. Her stage presence leaves its own indelible mark of beauty behind.


Chalnessa Eames was effervescent and sensual. Vincent Lopez was completely brilliant and charming. Jonathan Poretta and Lucien Postlewaite were riveting, powerful, dominating, and fierce.

Ty Alexander Cheng and Kylie Lewallen were saucy, flirty and breathtaking. Their endless kiss reminded me of a pair of butterflies; lips locked with wings (arms) continually unfurling yet never intertwining.

Hannah Lagerway and Lucien Postlewaite writhed about in geometric splendor. I was impressed with Postlewaite’s skillful control and Lagerway’s incredible range. Indeed, her presence within this company is the icing on the cake.

With everything this company has going for it—excellent dancers, respected Artistic Director, dedicated fan base, and a growing list of collaborators—Whim W’him stands poised on the edge of a divine precipice, ready to be launched into the stratosphere.

Congratulations to you, Mr. Wevers and to your talented team of artists. Viva Whim W’him!

*Photos courtesy of La Vie Photography*

This post also appears on the Vala Dancewear Blog.

Nutcracker Review Posted!

Visit the Class Act Tutu blog to read my formal review of Pacific Northwest Ballet's Nutcracker!

Also check out the Juicy Couture tutu sightings! Very fun stuff! ;o)

Pacific Northwest Ballet soloist Lesley Rausch as the Peacock
in PNB's Stowell/Sendak Nutcracker. Photo © Angela Sterling

Backstage at Pacific Northwest Ballet's Nutcracker

On Saturday evening, Dean and I took Abby and Julianah to see Pacific Northwest Ballet's Nutcracker. As you may recall from my previous post, there was some concern that the evening's festivities may have been dampened by illness. Thankfully Dean was fully recovered, and the four of us were more than ready to go!

The girls each received a special dress to wear, courtesy of their grandparents, in honor of the festive occasion. Abby was a delight in her shimmering purple gown with swooshy hem, while Julianah dazzled in her black velvet and sparkly cream skirted confection! They each had their hair in ringlets (Julianah's 'do was much more "ring like" than Abby's, which ended up looking more like tousled waves than holiday curls), and a smattering of lipgloss. They were all set!

Not only were they excited to see their first "real" (ie. professional) ballet performance, but they were also in for a very special treat. Lindsi Dec, one of PNB's soloists, had offered to take the girls backstage and tour the Nutcracker sets!

Ok, so back to the story! We arrived at the Seattle Center's McCaw Hall with plenty of time to spare. The girls posed for several pictures, first in front of the large Nutcracker poster...

....then inside on the makeshift Nutcracker stage!

...and with every piece of Nutcracker decor you could find!

The air was filled with the sounds of laughter and gasps of delight. Abby and Julianah were glowing with anticipation. We picked up our tickets and breezed into the gift shop, eager to see what sort of treasures we could find. Abby immediately honed in on a charming Nutcracker doll. She'd been eyeing these all over town (the cheap, crappy kind found in grocery stores) and was very misty-eyed over the one she found. It was perfect!

Then Dean helped Julianah dig through the basket of pointe shoes in search of a pair signed by Carrie Imler, also known as "Clara"! (Hooray!) You'd be hard pressed to find two happier little girls at that moment!

In addition to all the buzz and laughter, several PNB students were walking about with baskets of little Nutcracker "flair" buttons, which by the end of the night, the girls had accumulated about 4 a piece. There was also a choir of lovely Christmas carolers and a funny magician who could've been mistaken for Jack Black's brother.

Soon it was time to head out and meet Lindsi at the Stage Door. We only had to wait two minutes before the beautiful ballerina walked into the room. Oh, but wait! Who's this I see walking in with Ms. Dec? Why, it's lovely Ms. Carrie Imler herself! (Can you tell the girls were thrilled?)

Abby and Julianah were very blessed to have TWO beautiful ballerinas escort them backstage. For them, life couldn't get any cooler than this!

Carrie and Lindsi were so sweet and gracious: they hugged the girls, accepted their little Thank You notes, and told them how pretty their dresses and hair were. The girls were all smiles. Once all the greetings and introductions had been made, it was time to get our tour started!

We saw several exciting things backstage including cannons, masks, the giant Mouse King's "tail", the enormous Christmas tree being lowered down onto the stage, the Chinese Tiger's costume, Clara's bed, the golden boat (*), the cavalry's horses, and several plastic cans filled with Nutcracker snow! Both Carrie and Lindsi provided great explanations of everything the girls saw, which made the show that much more interesting later on.

The girls were especially thrilled to actually *walk across the same stage* their favorite ballerinas dance on! I had told them I wasn't sure if that would be possible, so to actually get the chance to do so was HUGE.

As you've no doubt noticed in the photo above, the girls are standing inside Clara and the Prince's golden boat. This was made possible by the kind suggestion of a very sweet Stage Hand (whom I failed to get his name--but Sir, you know who you are, and I cannot thank you enough!). As we were taking a photo of the boat, the Stage Hand came up and asked, "Would they like to climb up inside there and take a picture?"

Would they ever!! :)

Obviously, they were more than willing to check out this lovely boat for themselves. (I think their happy grins say it all!) As the girls climbed back down, we thanked this wonderful Stage Hand again for his kind offer. He had the sweetest smile on his face as he said, "You're welcome" and walked away.

After the stage, the ballerinas then escorted us across the hall. They pointed out one of their Physical Therapists who, according to Carrie, "saved her life" by fixing her back. Next it was on to the Green Room just a few feet away. Inside were the evening's three "Dervishes" (James Moore, Josh Spell, Barry Kerollis) relaxing and eating a quick bite before their performance. The girls were once again in awe over everything...In fact, I don't think they said much the entire time to be honest with you. Unless you count several rounds of "Oooh! and "Wow!" :)

Our tour came to a close after about 15 minutes when Lindsi grinned, "Well, that's it--in a nutshell!" (Ha ha! Her pun received a round of good-natured groans.) We then made our way back out to the waiting area where the girls said their goodbyes and thanked their lovely tour guides.

You know, I don't think their feet even touched the ground after that. They were just in a state of rapturous joy, floating high above the clouds! But their special night wasn't over yet. It was time to find our seats and get ready to watch the show!

My formal review of the performance will be posted soon to the Class Act Tutu blog, followed by the Vala Dancewear blog, but in the meantime I will say this---it was spectacular!

Pacific Northwest Ballet once again served up a magnificent holiday treat that should not be missed! Everything from the sumptuous sets to the fabulous costumes, to the sparkling choreography to the breathtaking dancers, to finally the lush accompaniment from the PNB orchestra--all these elements came together to create the most inspirational "dream world" for every child in the audience. (Not to mention, two very grateful "baby ballerinas"!)

Thank you once again to Lindsi, Carrie, the Stage Hand (gosh, I really must find out his name!), and all of Pacific Northwest Ballet! We cannot wait to see you again very soon!

*You can purchase tickets to The Nutcracker by visiting pnb.org. Great seats are still available and the fabulous production runs through December 30th.*

Longing for Brains and Focus

Ok, so that's an odd blog post title, but I really do wish I possessed these qualities in spades, especially when it comes to blogging. Allow me to explain.

During the last few hours, I've stumbled upon several really neat blogs like this one, and I'm now wishing I was smart enough to keep a blog focused on one specific topic or topicS per day.

Take for example, blogs that host a new Meme each day of the week. (Do you know I actually had to Google "What is a Meme?" when I first heard the term? Seriously embarrassing.) Anyway, as I was saying, these bloggers write about one specific theme each day and everyone jumps on their bandwagon because they're cool, too. Then there's me.

I've tried to participate in such things in the past and failed miserably. Why? Because I'm just not a focused blogger by any means. Perhaps that's because I'm not really a focused person??? Hmm. Now there's a thought! In all honesty, my thoughts fly about so randomly, I can easily drive myself nuts. In fact, Dean says that I "speak fluent ding bat". Humph. Only a few people can follow my conversations as I shift gears at lightening speed, and of course, those people happen to be in my immediate family. Oh well.

Where was I? Oh yes. A creatively focused blog! Duh.

Perhaps if I was passionate about ONE solitary thing, that would make it easier? Then again, I could easily have one blog dedicated to homeschooling, another to chai and chocolate, and still another to ballet. But I don't. Cuz that would confuse me.

Yet there remains a part of me that would love to have that kind of focus and intelligence oozing from my keyboard. What about you???? How do you keep focused, or do you simply maintain more than one blog? And for all my fellow unfocused types, do you ever "wish" upon a blog too, or am I the only lame-o?

Nutcracker Revisited--At Last; I Hope!

Ahh, The Nutcracker...!

The singular ballet Abby has been pining to see since the wee age of three. Back then if you asked her what she wanted to be when she grew up, she'd always reply very sincerely, "A pink ballerina!" (Emphasis on the pink!)

Now, thanks to the generosity of my charming boss Rebecca, her lovely daughter Rachel, and Pacific Northwest Ballet, Dean and I will be taking Abby and Julianah to see The Nutcracker next weekend. Hooray! This will be the girls' first ballet performance. (Abby technically has been to a dress rehearsal for Swan Lake, which was super-cool, but doesn't "count" in her book as a performance. Ahem.)

This is also a real treat for me, as I haven't seen PNB's Nutcracker since way back 1993, when Patricia Barker was still a Principal with the company. (Do the math.) The girls are already trying to decide what they're going to wear (as am I--ahem!) and saving their pennies to buy something extra special from the PNB gift shop. (They both have their hearts set on a pair of autographed pointe shoes from either Carla Korbes or Kaori Nakamura!) It will certainly prove to be a glorious night to remember, provided no one gets sick.

Now, why would that thought be a consideration you may ask? Well, I'll gladly tell you! It's because Dean came down with some sort of bug today, ushered in on the wings of a fever and a pale face and lips. Charming!

After his shower, I got him all tucked back into bed, soothing him with encouraging words like "get some rest" and "I hope you feel better quickly." I then leaned over and whispered in my most loving wifey voice, "By the way, if you make me or Abby sick to where we have to miss Nutcracker, I will fry you in beer batter and serve you with chips!" *Kiss on the forehead* "Love you!" :)

So, as I was saying...the girlies and I've been given a most wonderful gift that, come disease or storm of night, we shall enjoy to the fullest next Saturday evening.

Pacific Northwest Ballet's Romeo et Juliette

I recently had the privilege of viewing the matinee performance of Pacific Northwest Ballet’s Romeo et Juliette. I was prepared to be delighted and entertained, being a tremendous fan of PNB already. However I was not prepared for the high caliber of dancing coupled with such flawless character interpretation as this.

The PNB dancers breathed new life into Jean-Christophe Maillot’s intricate adaptation. From the moment I saw actual credits rolling across the screen, I knew this would be no ordinary ballet with a modern twist. This was history in the making.

The scrawling black and white credits soon gave way to sets that were clean, pure and abstract. The lighting played a greater role than I’d seen in the past, able to change the entire feel of a scene from a misty dream-like state one minute, to a cold starry night the next.

The dancers were so in tune with their characters, you easily became lost in the performance.

Pacific Northwest Ballet principal dancers Lucien Postlewaite and Carla Körbes in

Jean-Christophe Maillot’s Roméo et Juliette. Photo © Angela Sterling.

Postlewaite and Körbes alternate in the title roles with James Moore and Kaori Nakamura.

Roméo et Juliette plays through October 4. Tickets and information at www.pnb.org.

Kaori Nakamura’s Juliette was young, fresh and a bit of a “spoiled, wild child”. From “flashing” her nurse (bad girl!), to her refusal to obey her Mother’s wishes and marry Paris, Nakamura successfully channels all the feisty rebelliousness of the teen years. This is Nakamura’s first time performing as Juliette, and she beautifully exceeds all expectations.

James Moore’s Romeo is everything you’d expect from a bad boy from the wrong side of the tracks. He’s playful, rambunctious, headstrong, and a bit of a show-off, especially with the ladies. Yet for all his flaws, Moore’s Romeo was a character you couldn’t help but fall in love with.

Olivier Wevers did a superb job as Friar Laurence. As both a silent narrator and active participant to this tragedy, his performance is raw and heartbreaking; his anguish palpable. He is forever trapped in a nightmare of his own making, desperate for forgiveness that will never come.

Equally magnificent was the athleticism of the Friar’s two Acolytes, played by Jordan Pacitti and Sean Rollofson. So much of their movement was done in slow, exaggerated motion: the turns, lifts, and carefully executed rolls off the stage were riveting and poetic.

Her Nurse, expertly played by Chalnessa Eames, was clearly outwitted–and at times overwhelmed–by her young charge’s antics. Although the Nurse’s movements were silly and comedic, they carried an undertone of seriousness to her tasks at hand. There was no question regarding her devotion to Juliette.

Mara Vinson’s Lady Capulet was simply magnificent. From the moment she came into view she exuded superior control and confidence. Every inch the powerful matriarch, Vinson gave a performance so compelling I couldn’t take my eyes off of her.

Seth Orza was a very convincing Tybalt. He successfully conveyed his character’s anger, sense of family pride, and deep loathing of the Montague’s. His movements were commanding, intimidating, and breath-taking.

Mercutio and Benvolio played by Barry Kerollis and Josh Spell, round out the obnoxious Montague bunch. They live to aggravate and annoy the Capulets, most especially Tybalt. They played their roles as troublesome, arrogant pests with a hint of boyish foolishness, to the fullest.

Jeffrey Stanton’s portrayal of Paris was perfect. He was quiet, unassuming, gentlemanly; a stark contrast from Tybalt and Romeo.

Lesley Rausch played a sexy, sassy Rosaline. Her character is well-aware of her beauty and uses it to full advantage.

Story Highlights

The attraction between Romeo and Juliette was undeniably beautiful. The Balcony scene served as an exquisite moment of foreplay, aching with longing. Their wedding was simple and elegant; their wedding night resonating with passion and joy. It was in that moment that Juliette became the pursuer, with her Romeo succumbing to her charms. Watching these two, I couldn’t help but feel as though I was witnessing pure magic.

With the dramatic fight scene at the end of Act II, the audience is suddenly catapulted into the midst of Friar Laurence’s nightmare. Like one possessed, he digs his fingers into the set as it moves eerily across the floor, trying in vain to stop the next chain of events. The terror unfolds in slow motion as the distraught Friar Laurence watches on in agony. This is the moment he was dreading. This is the moment when everything falls apart.

As the action resumes normal speed, the brutality and its aftermath hit you full-force. Lady Capulet flails about in a wild rage, her grief unlike anything you’ve ever experienced. Paris must half-carry, half-drag her away from Tybalt’s lifeless form. Her heart takes another devastating blow with the loss of her daughter. She bitterly clings to the walls as if to say, “Take me now! I can’t bear this any longer!” As a mother, you feel her cries echo through your heart as she doubles over repeatedly in anguish. Yet her reaction is nothing compared to Romeo’s. As we know, Friar Laurence’s letter has not reached him in time. Romeo cannot—will not—bear this excruciating loss.

As Juliette awakens from her slumber and discovers that her cherished Romeo is no more, you feel her gut-wrenching loss. Her body is wracked with sobs, her horrified expression crying out, “This was not how it was supposed to be!”

Unable to bear the scene before him, Friar Laurence turns his back toward the grief-stricken Juliette and clings to the wall in sorrow. Juliette then strangles herself and gently falls across her beloved’s body.


Conclusion

I was absolutely enthralled by this performance. It was magical, poignant, thrilling, devastating and beautifully complex. The dancer’s dramatic expressions, the careful subtleties of movement, and the striking character development work together to provide a rich, new layer to this Shakespearean tragedy. I’m so thankful to Peter Boal for adding this production to the company’s repertoire.

What at first felt like a bold move to my “classically inclined” mind, left me with an even deeper respect for PNB as a whole. This is a company that is clearly up to any challenge a choreographer or director may throw their way.

My co-worker and companion on this trip, Lisa-Marie, also found the performance captivating. In fact, this was her first time ever seeing a ballet so I'll let her reaction speak for itself: "I am spoiled for life! I can never see another ballet again without comparing it to Romeo et Juliette."

Run—do not walk—to McCaw Hall and get your tickets to see Pacific Northwest Ballet’s Romeo et Juliette. You will not be disappointed. To view ticket information and more please visit http://www.pnb.org/

By Denise Opper
Media Contact for Vala Dancewear