PNB showcases its dedicated understanding of Balanchine

Pacific Northwest Ballet's all-Balanchine program represents in many ways a kind of summation of what the company has achieved and why his work is central to the past and future of the company.

DANCE REVIEW

PACIFIC NORTHWEST BALLET

WHEN: Through Nov. 14

WHERE: McCaw Hall, Seattle Center

TICKETS: $20-$137; 206-441-2424 or www.pnb.org

A number of American ballet companies trace their lineage to Balanchine, but few have committed as many resources to his work as PNB. The reasons for that commitment were apparent Thursday night at McCaw Hall with the kind of dancing Kent Stowell and Francia Russell, co-artistic directors of the company, worked tirelessly to produce against many odds.

"The Four Temperaments" and "Symphony in C," which framed the program, were impeccably staged by Russell, while "The Prodigal Son" was turned over to Richard Tanner. Although "Four Temperaments" and "Symphony in C," both abstract in sensibility and style, were created only a year apart in the mid-1940s, they reveal different sides of Balanchine's genius. In the former, he stretches the old vocabulary and creates a new language. "Symphony in C," with its luxurious beauty, is a throwback to Balanchine's days at the Marinsky Theater in St. Petersburg where he grew up and rebelled, but never forgot.

What is remarkable is that PNB is was able to capture the essence of both ballets so securely. "Four Temperaments" entered the repertory the year after Stowell and Russell arrived and became a touchstone for the company. They seemed to take it everywhere, even bravely to New York in 1984, and almost universally they received high praise. There was much to notice and like in the dancers, from the look of the corps de ballet to the various soloists -- including Batkhurel Bold and Olivier Wevers and especially Ariana Lallone.

"Symphony in C" came later to PNB, almost a decade. Its requirements are larger, so it was a while before the company could assemble so many competent dancers. This ballet, too, was taken on the road, with the finale a part of the gala opening night at McCaw a year ago. With the brilliant costumes of white and "deep royal blue," designed by Mark Zappone as the only decor, and highly polished performances by maybe three dozen dancers, there was plenty to admire.

A few names: Carrie Imler and Stanko Milov caught the brio of the opening movement; Kaori Nakamura and Jonathan Porretta the electricity of the third, and Mara Vinson the elan of the fourth. However, it was Louise Nadeau in the Adagio who made the performance sublime. She is a dancer who understands the plastic nature of music and how to link that with movement. It is a rare trait.

"The Prodigal Son" came early in Balanchine's career, in 1929, when he was working for Serge Diaghilev and his Ballets Russes in Paris. Although there have been some changes in the ballet, the design and costumes of the painter George Rouault at the premiere survive to the PNB of today.

Its performance revolves around the son. To assume it -- thinking of those who have danced the role in the past, including Serge Lifar in Paris and Jerome Robbins and Edward Villella in New York -- must be a heady and intimidating experience.

In Seattle, Porretta, one of PNB's young stars although he's not yet a principal (surely this season that will happen), did the famous role. The part requires a wider expressive range than he has normally been asked to dance: bold physicality at the beginning to abject humiliation, once the Siren (performed with such icy sexuality by Patricia Barker) and her associates have stripped him of worldly possessions and pride. He got the large scale of the role, including those famous jumps so huge and high and expansive they nearly exploded. But the son's pitiful disgrace was just as keenly felt. Porretta will grow into the role, but what a start.

The orchestra in Hindemith, Prokofiev and Bizet did very well with its assignments, with particular notice to pianist Dianne Chilgren. The sure-footed conductors were two: Stewart Kershaw for "Four Temperaments" and "Prodigal Son" and Allan Dameron, "Symphony in C."

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