Marie-Agnès Gillot is one of a kind, one in a million. She has arms and legs for days, which she sinuously moves like tentacles, spectacular extensions which she uses as air-piercing arrows and a stage charisma that could hypnotize you from the highest gallery seat. A Guillem-like dancer of intense virtuosity, she had world-class potential. But she’s never completely made the most of it and her final “Boléro” translates just that. Her 20-minute solo indeed read like a resigned swan song: yet, a beautiful one.
Marie-Agnès Gillot in Maurice Bejart's “Boléro” for Paris Opera Ballet. Photograph by Little Shao / Paris Opera Ballet
One way to get to know the history of a company is through the “liner notes” of its “Swan Lake” production, and for those of us continuing to build an admiring familiarity with Pacific Northwest Ballet via its digital season offerings, Kent Stowell and Francia Russell’s “Swan Lake” provides an interesting glimpse into PNB prior to Peter Boal’s leadership.FREE ARTICLE