PNB Shows Off Versatility in ‘See the Music’

Presenting a repertory program, “See the Music,” as the opening of Pacific Northwest Ballet’s 2015-2016 season Friday night at McCaw Hall, is a great way for the company to show off its dancers in a wonderfully varied program.

From Christopher Wheeldon’s abstract Tide Harmonic, created for PNB in 2013, to Balanchine’s Prodigal Son, 86 years after its premiere and as immediate as the original Biblical parable, to Jerome Robbins’ 1956 The Concert (or, The Perils of Everybody) with scenic design by Edward Gorey that heralds what follows, the evening had something to appeal to everyone.

Keeping in mind Wheeldon’s title, Randall G. Chiarelli’s changing backdrop lighting gave a sense of ocean depths up to tidal pools and Joby Talbot’s music enhanced the feel of tidal movement, while the choreography created a sense of water flow as well of sea creatures stalking or scrabbling across pool or ocean floor.

Of the four couples dancing with a fine watery feel, Benjamin Griffiths had the most complete sense of continuity in the work while Joshua Grant, newly promoted to soloist, did notable work partnering Maria Chapman. (PNB’s artistic director, Peter Boal, also announced eight new member to the corps, two of them promoted from apprentice.)

When dancing with New York City Ballet, Boal was coached in the role of the Prodigal Son by Jerome Robbins, who learned it from Balanchine himself, and now Boal has coached the three company members who dance it this time around. It’s a role, said Boal in a preview lecture last week, that involves more acting than dancing. Nevertheless, the role requires strength and speed from the dancer.

James Moore undertook the role Friday, and while he had all the technique required, he didn’t invest the part with quite enough rage and frustration at the start and it was not until the end, returning home as an exhausted penitent, that he fully inhabited the role. Laura Tisserand could have used more sensuality as the imperious, sexy Siren. Prodigal Son is a strong, wonderful work not to be missed, with unusual choreography for the drinking buddies which fits beautifully with Prokofiev’s commissioned score.

It takes skilled proponents of their art to be really funny, whether it’s circus performers, actors or dancers, and PNB came through in spades with The Concert. The slender story is similar to the reason for our painted pianos in the parks, when anyone can play and anyone can come and listen.

Even a company pianist, in this case Allan Dameron, gets into the act, performing on stage. He gave an inimitable presentation of a finicky player as he got started, beginning the ripples of laughter which pervaded the whole work. Bringing chairs with them we had among others the Committed Listener, the Society Lady with a roving-eyed Spouse on a string (a memorable Seth Orza), the Casual Passersby, and most prominent, the Devotee in a hilarious performance by Sarah Ricard Orza. Groups of dancers rehearse in the park with many mistakes, and a rain shower requires umbrellas galore, all while Dameron continues to play Chopin unconscious of his surroundings. This is one of Robbins’ funniest and sheer delight to watch.