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Directors Choice - PNB review

 

The evening began with Robbins’ most heralded classical work ”Dances At A Gathering”. The costumes, designed by Joe Eula were simplistic in design, relying heavily on splashes of color to create a tapestry of movement. It is difficult, and perhaps a little unfair to single out any performer from what many would consider the PNB’s highest echelon in this wonderful cornucopia of grace and palette. However, once more Chalnessa Eames’ performance took the piece from its already high level of excellence to that extra plateau. Not that there was a single misstep or flaw, but equally eye-catching was the chemistry between the retiring Louise Nadeau and Cuban Karel Cruz.

 

At one stage the audience was so enthralled it was practically on its tiptoes ready to deliver thunderous applause to show its appreciation to the ensemble, recognizing that the piece had reached a worthy and triumphant crescendo. They were somewhat surprised that having surrendered their emotions and self control to the moment, that “Dances At The Gathering” was not ready to receive its adulation.

 

At first the audience seemed ready to tolerate one extra piece but astonishingly there were four further pieces none of which reached the heights of the moment on which it should have ended. As each additional and superfluous piece began, the disenchanted chattering amongst the audience rose. We found this very sad as “Dances At A Gathering” was superbly performed and superbly choreographed. None of the finishing pieces were in any way substandard, the piece just passed up a wonderful opportunity to end on magnificence. However, given that the sunny weather outside and the summer clothing many Seattleites had dusted off to attend, the costumes onstage were appropriate and a fitting tribute to the season.

 

If “Dances At A Gathering” used color to portray a childlike innocence and simplicism. “After The Rain Pas de Deux" was anything but innocent. This has to have been one of the most sensual and sexual PNB performances since the heady and still talked about days of Rubies. Batkhurel Bold danced topless and his finely chiselled physique exuded masculinity. Maria Chapman wore a peach-flesh leotard clearly and proudly designed to simulate nudity. It was wonderfully done and PNB most be congratulated on bucking the increasing trend to pander to the most prudish elements of society. Maria comes from Georgia, Batkhurel from Ulan Bator, Mongolia. Yet despite the distance between their origins came together in perfect harmony to enthral a mesmerized crowd.

 

“Symphony In C” was originally created as Le Palais de Cristal. In common with “Diamonds” and “Swan Lake”, beautiful women in white form the centerpiece of this work. In its own way Balanchine’s “Symphony In C” is both beautiful and both visually stunning. A never-ending supply of elegant ladies dressed in sparkling classic tutus created symmetrical and seemingly crystalline figurines across the stage. The choreography was stunning and admirable.

 

As the summer continues without our fix of PNB, we will have plenty joyful memories of grace, beauty and elegance to accompany us in our pursuit of other pleasures till we meet again for “Romeo and Juliet”.

 

Director’s Choice runs from May 28 until June 7th.