Cover image: Pacific Northwest Ballet principal dancers Noelani Pantastico and Lucien Postlewaite (center) with company dancers in “Emeralds” from Jewels, choreography by George Balanchine © The George Balanchine Trust (Photo © Angela Sterling)
When Balanchine choreographed Jewels 50 years ago, he had specific dancers in mind for the many solos. And to open Pacific Northwest Ballet’s 45th season, artistic director Peter Boal is mounting Jewels and highlighting the many first-class dancers in the company. With the permission of the Balanchine Trust, the costumes, tiaras, and scenery have been reimagined by designer Jerome Kaplan.
Opening night Friday saw some of the company’s best work. Both in “Emeralds” and in “Diamonds” the lead couples took one’s breath away with their exquisite performances. The timing and contained ardor of Noelani Pantastico and Lucien Postlewaite (returned to the company after a few years with Les Ballets de Monte-Carlo) in the French-styled “Emeralds” were mesmerizing. Pantastico’s inaudible touch on the floor seeming just enough to lift her off it, their perfect synchronization, the life they both brought to the piece, her quicksilver, tiny movements like musical ornamentation, all contributed to a riveting performance.
Pacific Northwest Ballet corps de ballet dancers Amanda Morgan and Sarah Pasch with company dancers in “Diamonds” from Jewels, choreography by George Balanchine © The George Balanchine Trust (Photo © Angela Sterling)
In “Diamonds,” Lesley Rausch and Karel Cruz were impeccable in the slower and stately pas de deux, rock solid with balance and shape, graceful and lovely to watch. Cruz had the longest solos of the evening and he gave off the presence of a true danseur noble in this, due to his grace, his turns, and his incredibly long legs.
“Rubies” requires a sassy approach in which Rachel Foster and Benjamin Griffiths excelled. Foster was pert, crisp, sexy, and Griffiths matched her, provocative and inviting.
Pacific Northwest Ballet principal dancer Lindsi Dec in “Rubies” from Jewels, choreography by George Balanchine © The George Balanchine Trust (Photo © Angela Sterling)
The supporting soloists, particularly the contrasting couple in “Emeralds,” new principal Sarah Ricard Orza and William Lin-Yee, had quality worth watching, as had the corps.
Pacific Northwest Ballet principal dancer Lindsi Dec (center) with company dancers in “Rubies” from Jewels, choreography by George Balanchine © The George Balanchine Trust (Photo © Angela Sterling)
Kaplan’s new costumes don’t stray too far from the original. He added some drifting colors under the top layers of tulle, some vague blue caught sight of in “Emeralds,” a hint of pink under the white for all but Rausch in “Diamonds.” The saucy “Rubies” costumes match the choreography and Stravinsky’s music, short flippy skirts for the women made up entirely of fringe. Tiaras for all are larger, more present throughout. All the costumes coruscate with “jewels,” which were okay except for the heavy layer across the top of the bosoms, which shone and glittered obtrusively, distracting from the line of each body.
Kaplan gave “Emeralds” a changing night sky of stars for backdrop, while “Rubies” had black framed by beige wings, and “Diamonds” a heavy silver picture frame with faintly grey/pink clouds shifting within. The stars were the most successful, the others added little to the scene.
The company is very strong these days, the corps beautifully trained and many able to take on a solo role, while the principals and soloists often reach the heights. The orchestra under Emil de Cou is of course one major reason for the heft of the company, with strong musicians deft at accompanying the needs of many different dancers without distorting the music. Friday night with Fauré for “Emeralds,” Stravinsky for “Rubies,” and Tchaikovsky for “Diamonds,” it proved itself yet again.
Friday’s performance of Jewels was dedicated to the memory of Jeffrey Brotman, with his wife Susan a long time stalwart supporter of PNB until his death in August.
