This is where we will post the various preview articles to the tour, prepared both by our own team and also from the press.<P>The FT article gives more insights than most and gets the proceedings off to a great start.<P> <p>[This message has been edited by Stuart Sweeney (edited June 23, 2002).]

Preview article in The FT<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Now Pacific Northwest Ballet has grabbed the bull by the horns, and at Sadler's Wells (from Tuesday) the company will perform Silver Lining, a ballet built around the songs of Jerome Kern. It transforms itself into a musical, with an all-singing, all-dancing chorus line, backing two lead vocalists.<P>Artistic director Kent Stowell, who in 25 years has transformed the Seattle-based company from a small local ensemble to one of the top five ballet companies in the US, has choreographed the show, using more than 30 of Kern's songs, including such standards as "Smoke gets in your eyes", "Can't help loving that man", and "A fine romance", as well as rescuing some long- forgotten tunes.<P><HR></BLOCKQUOTE><P><I>Please note that this link is now only available to FT subscribers. Grr!!</I> <P><A HREF="http://news.ft.com/servlet/ContentServer?pagename=FT.com/StoryFT/FullStory&c=StoryFT&cid=1024484355589&p=1012571727132" TARGET=_blank> <B> MORE </B> </A><P><p>[This message has been edited by Stuart Sweeney (edited July 01, 2002).]

A very good preview - one point, the Sadler's Wells season doesn't start until Tuesday 2nd July, not next Tuesday as stated in the article.

eclectic mixed bill, I must say!

In case you haven't seen it yet, here is my preview article gathering together press comments on the various pieces in the 2002 London season:<P><A HREF="http://www.criticaldance.com/pnb/pnb-preview.html" TARGET=_blank><B>link to the preview article</B></A><P>And also a brief trip down memory lane looking at PNB's earlier visits to the UK:<P><A HREF="http://www.criticaldance.com/pnb/pnb-1999.html" TARGET=_blank><B>link to past season's article</B></A> <p>[This message has been edited by Stuart Sweeney (edited June 23, 2002).]

<B>A fresh breeze from the Pacific</B><P>The much-admired Pacific Northwest Ballet, which visits London next week, is a company strongly under the influence of Balachine. But, as<B> Nadine Meisner </B>discovers on a visit to its home in Seattle, it is shaped even more by the values of American contemporary culture<P>The Independent<BR>28 June 2002<P>It's 5am and lighted windows in the office block opposite my hotel indicate that some employees are already at work. But, hey, this is the USA, and even more to the point, Seattle, stamping ground of the entrepreneurial spirit. Situated far north, under vaporous skies, this is a city of boldly modern architecture and grid-system streets that pitch vertiginously into the Pacific Ocean. Growing out of timbering, the Gold Rush, and its gateway position to Alaska, Seattle today is smallish and somewhat provincial, but its tentacles spread round the world, through local giants that are called Microsoft, Boeing, Starbucks – and dance's own, unforgettable Mark Morris.<P><A HREF="http://www.independent.co.uk/story.jsp?story=309918" TARGET=_blank><B>click for more..</B></A><P>

<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B>Carnets, Visas, and Exchange Rates: Why PNB is Touring to London and How It's Doing It</B><P>By Azlan Ezaddin for criticaldance.com<P>In the window behind Margo Spellman, remnants of load-bearing walls, the roof framing and the foundation are about all the remain of what used to be the Seattle Opera House. Spellman claims she's gotten used to the noise and doesn't seem fazed by the activity. "It must be a guy thing," she ventures. "All the guys who walk in here get distracted by the construction. Kent was all excited when he got to drive a crane last week," referring to co-Artistic Director Kent Stowell.<HR></BLOCKQUOTE><P><a href=http://www.criticaldance.com/pnb/pnb-production.html target=_blank><B>More</B></a><p>[This message has been edited by Azlan (edited June 30, 2002).]

<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B>PNB Executive Director D. David Brown on Touring</B><P>I believe there are several rationales for justifying the considerable expense, time investment and challenge of unforeseen obstacles that touring presents.<HR></BLOCKQUOTE><P><a href=http://www.criticaldance.com/pnb/pnb-browntour.html target=_blank><B>More</B></a>

Hi!<BR>I don't know if this is the correct place to post, but after reading the article "Carnets, Visas, and Exchange Rates: Why PNB is Touring to London and How It's Doing It", a couple of questions came to mind.<P>First of all, what exactly are carnets? I've heard the word before, but don't remember what it means!<BR>Also, the article mentions that PNB will be traveling with 6 musical staff. Six musical staff does not an orchestra make, so how will the company be handling the music issue? A London based orchestra or taped music?<P>Thanks!<BR>Kate<BR>Thanks!<BR>Kate

I've been waiting for someone to ask about "carnet." <P>It is usually used to refer to either:<P>1. A book of stamps (which it is not in this case); or<P>2. A permit to ship across national boundaries -- the equivalent of a temporary visa or passport for goods.<P>We'll see if someone at PNB can respond to your other questions.<p>[This message has been edited by Azlan (edited July 02, 2002).]

PNB will be accompanied by the Royal Philharmonic Orchestra, under the direction of Stewart Kershaw. The Royal Philharmonic accompanied PNB during their last engagement to Sadler's Wells as well.

Thanks, Lia. From what I understand, Stuart Kershaw is more than just a conductor. He's the Company's Music Director, responsible for researching the music the Company uses.