Pacific Northwest Ballet’s resident choreographer Jessica Lang brought two diverse pieces to the PNB stage this past weekend. Luckily again, I was able to see this work via streaming. Created during the pandemic “Ghost Variations” is a study in movement and music that captivates from the first note. This was Robert Schumann’s final piano work before being committed to an asylum. While written in 1854, his wife Clara who collaborated with Robert and contributed her own compositions did not allow the variations to be published until 1939. Choreographer Lang has carefully elucidated every note within this gorgeous ballet creation.
The stage is darkly lit by consummate designer Reed Nakayama who brings magic to bear as dancers appear both in front of the cyclorama and as distinct shadows behind, morphing from life size, to miniature to oversized, always dancing in perfect synchronization with the onstage performers. Seated at the piano upstage right is gifted artist Christina Siemans who brings the achingly beautiful work of Clara and Robert Schumann to poignant life.
Pacific Northwest Ballet principal dancers Angelica Generosa (front) and Sarah-Gabrielle Ryan in PNB resident choreographer Jessica Lang’s haunting “Ghost Variations” – Photo by Angela Sterling.
Lucien Postlewaite steps out of the darkness into the shadowy light moving with perfect control while mirroring the melancholy piano score note for note. This precise approach to each of the five musical segments will be the leitmotif of Lang’s work. The choreography is balletic with a modern edge that suits the starkness of the music. Lang beautifully puzzles together thematic ideas while keeping the movement ever flowing, the choreography inventive and her musicality spotless. Postlewaite sets the moody tone with his calm demeanor and beautiful line. His commitment is unshakeable as he slowly winds through the choreography until he dissolves into darkness just as the sprite-like ballerinas enter for a flawlessly executed frolic. Leta Biascucci, Angelica Generosa and Sarah-Gabrielle Ryan make up this trio joined by the always vibrant Kuu Sakuragi. While the men are dressed in black pants and loose shirts, the women wear long black tulle skirts and leotards all beautifully designed by Jillian Lewis. The swirl of materiel adds dimension to Lang’s vision. Here again, she has staged and choreographed a perfect reflection of the music as she does throughout making it hard to look away for even a second.
Pacific Northwest Ballet principal dancers Lucien Postlewaite and Christopher D’Ariano in PNB resident choreographer Jessica Lang’s haunting “Ghost Variations” – Photo by Angela Sterling.
There is not a full story here but there is an enchanted idea which brings the observers emotions to the fore. When Christopher D’Ariano joins with Postlewaite in a duo a large shadow dancer makes it a trio, until the shadow is wistfully drawn away by a tiny ballerina. There are trios, duos and solos all which stand up to everything that went before including a wild reintroduction by the female trio of dynamo Kuu Sakuragi who gives his all in an eerie comment on the sad demise of Robert Schumann. And in the end, there is the true romance of Clara and Robert. Lang closes her piece with an emotionally sumptuous pas de deux danced flawlessly by Elle Macy and Dylan Wald. Every tender move is fraught with grief as the final moments of their life together comes to an end. This is a moment I will not easily forget.
Pacific Northwest Ballet principal dancers Elle Macy and Dylan Wald in PNB resident choreographer Jessica Lang’s haunting “Ghost Variations” – Photo by Angela Sterling.
Important art must be preserved and I hope this piece, “Ghost Variations” will live in PNB’s repertoire for a long time to come.
Credit must also go to Creative Associate Kanji Segawa.
Pacific Northwest Ballet principal dancer Christopher D’Ariano in the Seattle premiere, in the Seattle premiere of PNB resident choreographer Jessica Lang’s “ZigZag”. Set to the songs of legendary singer Tony Bennett – Photo by Angela Sterling.
From the emotional high of “Ghost Variations” we move to “ZigZag.” This ballet is based on the indelible recordings of American Standards by the inimitable Tony Bennett. Bennett was a master of his art, an interpreter of lyrics like few others. Lang has put together a compilation of some of his most well-known recordings and attempted to bring them to life through dance. The difficulty here is that this is swinging jazz sung by Bennett and played by the great big bands and musical artists of the era. Lang feels the music of Schumann in her very being but it is clear that this genre of music does not have the same effect.
Opening with an up-tempo version of “What the World Needs Now is Love Sweet Love” we expect to be swept up in the lyrics and breezy mood but unfortunately the choreography seems staid as opposed to moving with along with the care-free jazziness. The dancers are energetic and hard working but the underlying style necessary eludes them as it does Ms. Lang. Great tunes abound, “I left My Heart in San Francisco,” Fascinating Rhythm,” and “It’s De-lovely” to name a few all featuring terrific musical arrangements and Bennett’s soaring vocals, go unfulfilled, accents are missed or given little emphasis and there is a tendency to fall into “cuteness.” Every one of the chosen songs tells a story. “Just One of Those Things” becomes silly movement with girls in short fluffy polka dot costumes riding on the backs of the guys like children at play. The gorgeous “Blue Moon” loses all its’ romantic intent and “Smile” is misunderstood. The interpretation of the lyrical content of these classic songs should be paramount to the choreography and this element is sadly missing. Ending with a very up-tempo “It Don’t Mean a Thing if it Ain’t Got That Swing” which morphs into a blazing drum solo, is too much to keep up with so the finale becomes messy and even resorts to hopping in place. These dancers, so skilled in ballet and contemporary dance, do not have this level of “jazz” in their bodies, so they appear stilted when fluidity is necessary.
Pacific Northwest Ballet principal dancers Angelica Generosa and Christopher D’Ariano, in the Seattle premiere of PNB resident choreographer Jessica Lang’s “ZigZag”. Set to the songs of legendary singer Tony Bennett – Photo by Angela Sterling.
Clearly overall this was a disappointment though I believe the dancers seemed to have fun and if the audience reaction was true, they loved it.
Choreographers must step out of their wheelhouse from time to time to experiment and develop. Hopefully, Ms. Lang will find her way in this genre but more time effort and a true understanding of the style will be necessary.
So, this was an event of highs and lows. “Ghost Variations” is an indelible work of genuine art while “ZigZag” feels like a work in progress. Still as always, I look forward to anything PNB presents and appreciate that new work is always encouraged because something important will emerge.
The committed dancers were; Angelica Generosa, Christopher D’Ariano, Elizabeth Murphy, Dylan Wald, Sarah Gabrielle Ryan, Noah Martzall, Luca Anaya, Emerson Boll, Melisa Guilliams, Rosalyn Hutsell, Kali Kleiman, Larry Lancaster, Drew Lybolt and Samuel Portillo.
The appropriate Set Design, utilizing original artwork by Tony Bennett and the New York City skyline is by Derek McLane. Lighting Design is by Nicole Pearce and Costume Design is by Wes Gordon for Carolina Herrera. Creative Consultant and Staging was by Kanji Segawa.
For more information about Pacific Northwest Ballet, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Pacific Northwest Ballet company dancers L- Christopher D’Ariano, Sarah-Gabrielle Ryan, Dylan Wald, Elizabeth Murphy, Noah Martzall, and Angelica Genersa in “ZigZag” – Photo by Angela Sterling.
