Ballet at
Bumbershoot?
This year
I went
to see for myself, and I have to
say, Pacific Northwest Ballet’s program really did fit into
this indie music/art festival. Only one tutu, no tiaras, and
a lot of intense art.
The program
didn’t fit the stage quite as well; these dancers
stretch, these dancers cover ground, and the Bagley Wright
Theatre digs cramped their style a bit. Still, there was
much to enjoy.
Spanish
choreographer Nacho Duato’s Jardí Tancat started off
the program. Is there anything new to say about this
long-time Seattle favorite? You’ve seen it: it’s the one
with the arc of bare stalks upstage (thus the title,
perhaps, which translates to
Walled Garden). It’s the
one that starts out in silence, six people kneeling away
from the audience, rolling their heads, very primal. It’s
the one with the weeping and the broken-armed cranes. It is
the saddest ballet, to the saddest music (Maria del Mar
Bonet’s songs to Catalan texts ), and the PNB dancers treat
it with a passionate intensity. They create a community
onstage, and we watch as they struggle with amazing grace
for life—individually and together. Jardí Tancat is
beautiful and powerful; in spite of its sadness, it somehow
leaves you with hope instead of despair. (My own hope is
always that the curtain is going to go back up and that the
piece will start all over again.)
Olivier Wevers’
almost-brand-new duet followed. (see
Wever profile)
A short duet
followed, this one by first-time choreographer Stacy
Lowenberg. Called Rushed Goodbye, the work was a
favorite at the PNB Choreographers Showcase, where two
students premiered it last June. Intimate, dramatic (red!
red! red!), mostly lyrical, Lowenberg’s piece details the
mixed feelings of a break up. Love, anger, yearning,
resignation, recollection: it’s all there. It was good to
see this well-paced piece performed by Lesley Rausch and
Karel Cruz, professional dancers who were understandably
more comfortable with the not-your-mother’s-old-ballet moves
that Lowenberg created. This is contemporary ballet to
popular music (“Green Spandex” by Xavier Rudd). Although the
style reminded me of the Dominique Dumais pieces Lowenberg
has danced so well here in Seattle, the vocabulary is
Lowenberg’s own. No small feat for a first-timer. Kudos!
The program
ended with Mopey, a dark, charged, sweaty, 12-minute
solo by young German choreographer Marco Goecke. Violent
athleticism, violent lyricism, and innocent humor are played
out to C.P.E. Bach, The Cramps, chest beating, silence, and,
in the end, just plain breath. This was one of the first
contemporary works PNB artistic director Peter Boal brought
to the company back in 2005. It certainly ruffled some
feathers back then in the audience at McCaw Hall. At
Bumbershoot, however, it fit right in. Most of the steps are
so different from anything in ballet that PNB dancers had to
make up names for them in order to learn the piece: the
Britney Spears, the Play With Your Nipple, the John
Travolta… The dancer performing at Bumbershoot was the very
focused, detail-perfect James Moore. I’m happy to say that
he survived this piece once again.