Last week, Pacific Northwest Ballet made its first appearance in New York City since 1996. After one evening of a Balanchine triple bill, the Seattle-based company, led by artistic director and former New York City Ballet principal dancer Peter Boal, performed Jean-Christophe Maillot’s full-length Roméo et Juliette for its remaining three performances at New York City Center. This contemporary interpretation of Shakespeare’s tragic love story uses Prokofiev’s score (performed marvelously by the Pacific Northwest Ballet orchestra, with Emil de Cou conducting) but takes great liberty with the narrative. The sensual, gesture-rich choreography is the most significant trait of this striking version of the well-known play, with Carla Körbes and Seth Orza giving radiant, captivating performances in the title roles.
Here’s a beautiful short film of Carla Körbes, principal dancer at Seattle’s Pacific Northwest Ballet and former soloist at New York City Ballet. Carla was recently profiled in The New York Times and will perform next week with Pacific Northwest Ballet at NY City Center. The film is by LA-based photographer Patrick Fraser.
New York City Ballet’s winter season is celebrating the music of Tschaikovsky. The Balanchine triple bill performed last Wednesday included a personal favorite, Serenade, which also happened to mark the return of principal dancer Sara Mearns after a nearly year-long absence due to injury.
The Park Avenue Armory is once again home to an installation that is appealing to adults and children alike. Ann Hamilton’s the event of a thread is playful, elegant, and a bit mysterious. Filled with 42 swings suspended from the ceiling of the cavernous Wade Thompson Drill Hall, the installation allows viewers to remember how gleeful it feels to swoop through the air.