Pacific Northwest Ballet has again presented a beautiful and forward-thinking program that I was able to see streaming this past Easter weekend. Two ballets were featured, the light and airy “Bacchus” and the intense and dark “One Thousand Pieces.” Each was unique, beautifully performed and are valuable additions to the repertoire of PNB however, one piece landed solidly and one faltered on the brink of repetition.
“Inspired by the lush and flamboyant music of Oliver Davis, Matthew Neenan’s “Bacchus” embodies the nature of the Roman god of wine, merriment and abundance.”
Pacific Northwest Ballet principal dancers Elizabeth Murphy and James Kirby Rogers in Matthew Neenan’s “Bacchus” – Photo © Angela Sterling.
Lighting designer Randall G. Chiarelli has saturated the stage with deep blues, pinks and purples, perfectly complimenting the gorgeous wine-colored costumes of Mark Zappone setting the mood for the Dionysian fete to come. Choreographer, Neenan works in a contemporary ballet style that suits the subject and fits flawlessly into the wheelhouse of PNB’S terrific dancers. Beginning with what feels like an exuberant day in the park we traverse through the many moods of a bacchanal from carefree and flirtatious to boisterous and romantic. Neenan has a unique style and expansive dance vocabulary along with a mastery of staging. He knows exactly when to whisk dancers on and off the stage and just when a solo, duet, quartet or more, might be in order. His use of gesture adds expression to the movement in a unique almost clownish way which implies that maybe someone may just have had a few too many at this party. Everyone dances with excellent technique, full commitment and near perfect synchronization when required. As always, James Yoichi Moore is impactful as he brings his veteran talent to a deeply felt solo. A romantic interlude danced with nuanced depth by James Kirby Rogers and Elizabeth Murphy two of PNB’s most stalwart performers, adds poignancy to the end of a long night. From the beginning to the end, we are drawn into a world of “Bacchanalian” delights, so carefully crafted by Neenan and Davis and so ably brought to life by PNB.
As usual the excellent PNB orchestra, conducted by Josh Archibald-Seiffer, is up to the task set by composer Davis.
“One Thousand Pieces” choreographed by Alejandro Cerrudo to the music of Philip Glass followed.
“For me, a stained-glass window is a transparent partition between my heart and the heart of the world.” Marc Chagall.
Pacific Northwest Ballet corps de ballet dancers Yuki Takahashi and Luther DeMyer in Alejandro Cerrudo’s “One Thousand Pieces” – Photo © Angela Sterling.
Like the abstract music of composer Glass, Cerrudo has chosen an existentialist idea on which to create his ballet. Cerrudo is a thought-provoking choreographer with many ideas, some work well and some do not but there is never any doubt that he is willing to try. Set in three sections, the ballet opens as a man in a suit drops onto the stage, dances with fierce commitment and then disappears. Intriguing, yes, meaningful, hard to determine. We do not see the man in the suit again until he reappears suspended in air before we enter the second movement. Unfortunately, here he does not dance but instead gives a nonsensical monologue that is eventually overtaken by the music and becomes inaudible. Why, would be the question.
Cerrudo seems to have an endless supply of steps, lifts and combinations at his fingertips and though not every section works, there are still many moments of beauty and humor. His style is balletic with a touch of modern and contemporary jazz. The opening set is a simple black wall with intermittent mirrors along the upstage area. The mirrors are effective in giving depth to the stage as the dancers move in duos, trios and small groups. The choreography is necessarily busy in trying to keep up with the constant churning of Glass’s score. Though well executed by the cast there is an inevitable sameness to the movement that becomes distracting. However, one trio of male dancers stood out as they brought a sense of fun and much needed energy to the stage. These moments were too few but with judicious editing more of this might come to the fore.
Pacific Northwest Ballet principal dancers Dylan Wald and Elizabeth Murphy in Alejandro Cerrudo’s “One Thousand Pieces” – Photo © Angela Sterling.
In a stunning reveal, Section Two curtains open to an other-worldly waterfall of mist dropping into a river of water. Here the cast dance on, in and through the water stepping in and out of the mist in ghostly fashion. But again, the lack of memorable music to underscore this beautiful scene and too much time spent in one mode takes away from what might have been an innovative interlude but instead feels like something we might have seen before.
By the third and final section, the movement and music have worn thin and ennui sets in. Though Cerrudo still has ideas aplenty from stage line-ups to near constant movement this over-long section feels forced and precision is sacrificed. Again, clever editing and a clear point of view might bring out the best in this work and then, something magical might just happen.
As always, the PNB Orchestra shines as conducted by Emil de Cou, with virtuoso playing by soloists Christina Siemans on Piano, Michael Jinsoo Lim, 1st Violin, Jennifer Caine Provine, 2nd Violin, Alexander Grimes, Viola and Page Smith, Cell.
The provocative Scenic and Costumes Designs are by Thomas Mika with suitably moody Lighting Design by Michael Korsch.
The dynamite dancers are the PNB Company members.
For more information about the Pacific Northwest Ballet, please visit their website.
This review was edited for corrections on 4/4/24
Written by Tam Warner for LA Dance Chronicle.
Featured image: Pacific Northwest Ballet corps de ballet dancer Rosalyn Hutsell (center) with company dancers in Alejandro Cerrudo’s One Thousand Pieces – Photo © Angela Sterling.
