Pacific Northwest Ballet has brought another spectacular night of dancing to the stage. This time the Directors Choice is “throes of increasing wonder” by Associate Artistic Director and Choreographer, Kiyon Ross and the premier of “Cracks” by Rena Butler. I had the privilege of streaming this production this past weekend.
“These contrasting works promise to connect us with our inner desires while allowing us to touch the stars.”
This esoteric statement introduces the evenings program and though it is nebulous in its meaning, it somehow describes the feelings evoked by the all-out artistry of what we see before us.
The curtains open to reveal a simple set by Norbert Herriges and Reed Nakayama which morphs from a large white cube into three segments of moving walls. These become the backdrop and allow the dancers to appear or disappear, aided by the magical lighting also created by Reed Nakayama.
L-R Pacific Northwest Ballet company dancers Yuki Takahashi, Ashton Edwards, and Kuu Sakuragi in Kiyon Ross’s” …throes of increasing wonder: – Photo by Angela Sterling.
Into this atmosphere, Choreographer Kiyon Ross continues the magic by creating a ballet that takes the expected classical technique and turns it into something new. “throes of increasing wonder” is technically challenging yet flows with ease as the dancers move from section to section with effortless joy. He has a knack for sweeping duos, trios and groups onto and off the stage in an ever-moving stream that always perfectly reflects the music. Built around several movements, brilliantly written by composer, Cristina Spinei, Ross guides the choreography from vibrant to poignant and back again gaining momentum all along the way. His dance vocabulary is extensive and though the score often uses a repetitive tempo, he finds new ways to respond so that this constancy only serves to enhance the work.
Working with an ensemble of ten and seven featured couples, everyone has a moment to shine, and they do. A buoyancy of spirit comes through even in the most difficult and tender passages. Because the choreography is so perfectly tied to the nuances of the music, the dancers move with unforced facility as the combinations naturally evolve from one step to the next. Each featured couple is completely up to the task assigned them and just as one seemed to be “the best” the next would upend my thinking as it became clear that all could be handed that title. The ensemble did not disappoint either as their work was always clean, crisp and affecting.
L-R Pacific Northwest Ballet corps de ballet dancer Destiny Wimpye in Kiyon Ross’s “…throes of increasing wonder” – Photo by Angela Sterling.
When all the elements come together as they have here it would be hard to find a better way to spend an afternoon than watching this gorgeous and thoroughly modern ballet unfold in all its beauty and its promise of renewal.
Costumes by Pauline Smith added just the right flair to every move and simply denoted the ensemble from the featured dancers with subtle color. Conductor Emil de Cou, once again leads the PNB orchestra with flawless precision.
The terrific featured dancers were Angelica Generosa, Jonathan Batista, Sarah-Gabrielle Ryan, Christopher D’Ariano, Clara Ruf Maldonado, Mark Cuddihee, Madison Ryan Abeo, Noah Martzall, Ashton Edwards, Kuu Sakuragi, Yuki Takahashi, Ryan Cardea, Juliet Prine and Zsilas Michael Hughes.
Pacific Northwest Ballet company dancers in Rena Butler’s “Cracks” – Photo by Angela Sterling.
On May 30th of this year PNB premiered Rena Butlers transcendent new piece “Cracks.” Wildly imaginative, ingeniously staged and gloriously danced, this is a brilliant addition to PNB’s repertoire. Rena Butler is an award-winning choreographer having set new works on companies such as Hubbard Street Dance and Kyle Abraham’s A.I.M. She is young, dynamic and someone to watch.
“Cracks” poses the question of whether or not fervent worship or adherence leads to one’s true evolutionary journey to the higher self.”
Pacific Northwest Ballet soloist Clara Ruf Maldonado in the world premiere of Rena Butler’s “Cracks” – Photo by Angela Sterling.
The answer to this in Rena Butler’s world is a resounding “No.” The stage is bare but for the inspired lighting by Julie Ballard who brings unlimited supernatural effects to an endless sky illuminating the dancers below in an eerie glow. Dressed identically in yellow blouses, short orange skirts and knee socks created by Meleta Buckstaff, we are left to ponder is this a school group, a veneration or a cult? Choral music ascends from high enveloping the room with the angelic voices of “The Tudor Choir” singing live to the ethereal music performed by the PNB Orchestra, this time led by conductor Doug Fullington. From the first note we are swept into the weird world of unquestioned faith.
Like Ross, Butler understands the importance of staging so that the eye is never bored or confused. Her timing in this regard is perfection as she smoothly moves the dancers from full cast, to duets to soloists and back again. Elle Macy stands out in a stunning solo of great emotional depth and technical precision. Ms. Butler, a top-notch dancer herself, is not afraid to “try anything” and this ethos has served her well here. While the lighting and music combine to create a sacred aura, the choreography is just off kilter enough to upend any idea that nirvana will be attained. Always well-grounded in ballet technique with a hint of contemporary movement laced throughout, the dancers nail every step while never losing the underlying strangeness of the mood. Their understanding of the meaning behind the movement was evident and a testament to Ms. Butler’s ability to communicate her intentions.
Pacific Northwest Ballet company dancers in the world premiere of Rena Butler’s “Cracks” – Photo by Angela Sterling.
In a world created by the strict adherence to a perceived and or forced belief system, this ballet becomes more and more relevant. We see the need to conform, the need to break away and the gradual yet inevitable collapse of the very thing meant to save us. All this is brought home by the sad ending as everyone is left with nothing. The end of the ballet brought a moment of stunned silence before the audience erupted in wild applause for this timely and worthy new piece.
A compilation of music by Michel Wackenheim, Gabriel Faure, Antonio Vivaldi, Francis Poulenc, Claude Debussy and Michel Praetorius, make up the brilliant score performed by the PNB orchestra with Doug Fullington conducting. Immaculate Sound Design was by Darryl J. Hoffman.
The superb dancers for “Cracks,” were, Elle Macy, Zsilas Michael Hughes, Madison Ryan Abeo, Christopher D’Ariano, Dylan Wald, Ashton Edwards, Angelica Generosa, Johnathan Batista, Clara Ruf Maldonado, Sarah-Gabrielle Ryan and Luca Anya.
Not mentioned above, the ensemble for “throes of increasing wonder,” included, Luca Anaya, Malena Ani, Dylan Calahan, Rosalyn Hutsell, Larry Lancaster, Joh Morrill, Ginabel Peterson, Samuel Portillo, Lily Wills and Destiny Wimpye.
For more information about the Pacific Northwest Ballet, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: L-R Pacific Northwest Ballet corps de ballet dancer Noah Martzall and soloist Madison Rayn Abeo in Kiyon Ross’s …throes of increasing wonder – Photo by Angela Sterling.
