I’m having a pandemic love affair with Pacific Northwest Ballet. It’s most unexpected, as so many of the emotional complexities of the past year have been. I live in California’s Bay Area; San Francisco Ballet has been my “home” company for two decades; I feel a loyalty to them. Yet it cannot be denied that when it comes to meeting the many challenges of these times with grace, authenticity, and whole-heartedness, Pacific Northwest Ballet has proven not just impressive but exceptionally endearing. It’s their behind-the-scenes glimpses of the dancers in each program’s “Five Minute Call” that carve a place in one’s heart, and artistic director Peter Boal’s kind and committed program notes. It’s also their new rep.
Noah Martzall and Christopher D’Ariano in Donald Byrd’s “And the sky is not cloudy all day.” Photograph by Angela Sterling
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading