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 Post subject: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Thu Sep 19, 2013 10:27 am 
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Location: Seattle, WA, USA
Pacific Northwest Ballet opens the 2013-14 season with a program of works by Twyla Tharp: a world premiere, commissioned by PNB, "Waiting at the Station," the PNB premiere of "Brief Fling" and a revival of "Nine Sinatra Songs," September 27 through October 6 at McCaw Hall in Seattle. Here is the program information from the PNB website:

Air Twyla

Here is a link to casting.

Casting


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 Post subject: Re: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Sun Sep 22, 2013 7:21 pm 
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In the Seattle Times, Moira Macdonald talks to set and costume designer Santo Loquasto about the designs for Twyla Tharp's "Waiting at the Station."

Seattle Times


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 Post subject: Re: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Mon Sep 23, 2013 10:23 am 
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Alice Kaderlan previews Air Twyla for Crosscut.

Crosscut


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 Post subject: Re: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Tue Sep 24, 2013 11:48 am 
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Twyla Tharp and artistic director Peter Boal will give a lecture/demonstration of Ms. Tharp's work on Wednesday, September 25, 2013 on the McCaw Hall stage. The event will be live streamed. Broadway World previews the event and provides information about connecting to the live stream.

Broadway World


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 Post subject: Re: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Sun Sep 29, 2013 8:40 pm 
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Lynn Jacobson reviews the Air Twyla program for the Seattle Times.

Seattle Times


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 Post subject: Re: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Tue Oct 01, 2013 12:11 pm 
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Location: Seattle, WA. USA
A Conflict Resolved
Pacific Northwest Ballet’s AIR TWYLA Program
Saturday, 28 September 2013, 7:30 p.m
.
by Dean Speer

The late, great University of Washington professor, Giovanni Costigan (1905-90) [and unintentional nemesis of my mother, but that’s another story], was famous for his “Classicism versus Romanticism” lecture which I heard him give in the 1970s.

Classicism can be partly defined as “...harmony, restraint, and adherence to recognized standards of form and craftsmanship,” and Romanticism as “...emphasis on the individual's expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions.” Head versus heart, technique versus feeling.

This has long been an artistic tension that so often plays out in the work of Twyla Tharp, Pacific Northwest Ballet’s first Artist-In-Residence [AIR] and could be seen on stage in PNB’s all-Tharp first program of the 2013-14 season. Truthfully, I believe that her entire work could perhaps be characterized by this single conflict – you see it in her early work and throughout her recent pieces but not in her newest creation, a world premiere entitled “Waiting At The Station.”

My sense of this new piece is of being relaxed and of the dancing speaking for itself. I was really impressed. “Waiting At The Station” is quite good and while containing much sparkling quick wit and fun with a funky, jazzy New Orléans-influence, it is mostly about lively and virtuosic dancing with a small story as its backdrop and platform. Perhaps confronting his own mortality and passing along his legacy to his son, James Moore as the Father took the ballet ball and ran with it, becoming a star in a starring part.

Price Suddarth was excellent as the son upon whom the dance mantle is placed, often shadowing his father, literally in his footsteps.

Carrie Imler and Kiyon Gaines along with Laura Tisserand and Jonathan Porreta were a dance hall riot and were both exuberant and occasionally competitive. The gold-and-glitter Three Fates of Chelsea Adomaitis, Elle Macy, and Sarah Pasch often and easily lured Moore to off- and on-stage revelry, showing that the Father could resist anything except temptation. He also appeared to be about the only character who could actually see them.

When we think the Father has passed away and gone over to the other side, a Mardi Gras funeral procession makes its way across the stage, including pallbearers with what we have to presume is Father’s coffin. But fear not, he makes a rolling comeback [from upstage and under the set], gets back up and dances, making his final “exit” as the train comes into the station -- an amazing bit of stagecraft wizardry with a life-sized engine making it way straight to the audience, with plenty of steam as the curtain rings down.

It was exciting to have the work’s composer, Allen Toussaint, playing the keyboard, with Emil de Cou conducting the mighty PNB Orchestra for the only live music the evening.

Tharp really outdid herself with this premiere.This work represents time well-spent at PNB on a ballet that will have other companies eagerly wanting to add it to their repertories.

Opening the program, “Brief Fling” might be called a dance setup – to skewer Percy Grainger’s iconic 1918 setting of an English folk tune, “Country Gardens,” and nicely does so without getting too cutesy. It’s a work that is more typical of what I’ve come to expect from Tharp and you can easily see the “intellect” versus the “feeling” in its structure and execution. It opens with some straight forward dancing and structure, including a pas de deux for a principal couple – Kaori Nakamura and guest Sascha Radetsky [from ABT] and a quartet of dancers in red plaid -- a radiant Maria Chapman, Kylee Kitchens, Benjamin Griffiths, and Eric Hipolito, Jr. Then, in comes the quirky and unexpected Tharp part – Leta Biasucci partnered by three men, Gaines, Porretta, and Ezra Thomson. While it was fun seeing Radetsky, who is terrific in his own right, seemed unnecessary given the high level of men we already have at PNB. My guess is that Tharp wanted someone already familiar with her ballet to “anchor” the cast.

“Nine Sinatra Songs” leans more toward feeling than action or an intellectual exploration of theme and development, although those elements are there, undergirding the work. It’s more an intimate work than a grand ballet. Half serious, half playful, it comes to a full ballroom conclusion with all couples “competing” on the floor.

Won’t someone please give an Oscar to Brittany Reid and her shorter-than-her [on purpose] dance partner, Ryan Cardea, whose exaggerated ballroom dance moves provided the light-hearted antics that nicely balanced the serious goings-on of the first half of this work.

All of us had a good time at the ballet and Pacific Northwest Ballet proved yet again how fortunate we are to have them right here in our own backyard.

_________________
Dean Speer
ballet@u.washington.edu


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 Post subject: Re: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Tue Oct 01, 2013 11:05 pm 
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Location: Seattle, WA, USA
Alastair Macaulay reviews "AIR TWYLA" for the New York Times.

NY Times

Sandra Kurtz reviews AIR TWYLA for the Seattle Weekly.

Seattle Weekly


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 Post subject: Re: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Wed Oct 02, 2013 11:19 am 
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Location: Seattle, WA, USA
Marcie Sillman describes a studio rehearsal for "Waiting for the Train" for KUOW Radio.

KUOW Radio


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 Post subject: Re: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Wed Oct 02, 2013 12:00 pm 
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Location: Seattle, WA, USA
Mariko Nagashima reviews AIR TWYLA for Seattle Dances.

Seattle Dances


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 Post subject: Re: Pacific Northwest Ballet: Air Twyla (Sept./Oct. 2013)
PostPosted: Thu Oct 03, 2013 1:26 pm 
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Location: Seattle, WA, USA
Philippa Kiraly reviews AIR TWYLA for the Sun Break.

Sun Break


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