By Audrey Gervasi
PNB hit the jackpot with this delightful production, pleasing young and old alike. Every aspect creates the illusion that we are seeing little woodland beings frolicking among the greenery. The lavish, oversized (but not overpowering) sets, the delicate dancing, the flowy costumes and of course Mendelssohn’s melodic score add up to an evening (or afternoon) of gorgeous fantasy and mischief.
Seattle Fine Arts Examiner attended and reviewed on opening night with raves about that cast (See that review here). We loved it so much we went back to see the alternate cast and found that production to be equally delightful. The principal dancers in this version, Kylee Kitchens as Titania, Jonathan Porretta as Oberon, Barry Kerollis as Puck, and Sarah Ricard Orza and Seth Orza performing the Act II divertissement were all superb, incorporating their acting and dancing to a point where one cannot distinguish between the two. This can only be accomplished by performers who are masters of technique. PNB’s dancers consistently deliver this level of performance, which makes them a joy to watch.
Kitchens was lithe and graceful as Titania, and her acting was at once amusing and poignant as she fell in love with Bottom, played by Sean Rollofson. Rollofson himself is a wonderful actor. Although his part is relatively small and he spends most of it wearing a donkey head, he managed to use body language to convey all of his emotions in dealing with Titania’s affections—reluctance, then enjoyment. Porretta’s Oberon conveyed strength and regality in all of his appearances.
Like Josh Spell, Barry Kerollis’s Puck was a scene stealer as he crept around working his mischief on the other characters. His appearance on stage meant something interesting was about to happen, and he used his body language to create suspense. He would hunch down, look around, and sneak up with the lightness of a cat.
One of the major highlights of the production is the Act II divertissement, performed at this show by Sarah and Seth Orza. The Orzas, who are married, were both promoted in 2010, Sarah from corps de ballet to soloist, and Seth from soloist to principal dancer, and deservedly so. Their execution of Balanchine’s challenging choreography was magnificent and mesmerizing, as they continuously created lovely shapes with their bodies. The choreography was an opportunity for Sarah Orza to display her remarkable talent and endurance as a pointe dancer, and she held the audience breathless with her grace and delicacy, all while executing moves that require extraordinary strength.
This production is one that will remain in memory for some time as the perfect synthesis of everything that makes ballet a sublime experience. Congratulations to everyone who made it possible.
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