Artistic Director’s Notebook: Little mortal jump, Red Angels, Firebird

Twenty-one years ago, I flew to Seattle to see Kent Stowell’s Firebird. I was the newly appointed Artistic Director Designate of Pacific Northwest Ballet at the time, and I was trying to see as many performances of the company as possible. Kaori Nakamura was the quicksilver Firebird, Batkhurel Bold, the gallant Prince, and Kiyon Ross was a memorable lead monster. Kent’s intricate choreography entranced. Theoni V. Aldredge designed truly extravagant costumes built by the PNB costume shop. The sets by Ming Cho Lee created a kaleidoscopic wonderland of swirling colors and magical motifs made more vivid by Randall Chiarelli’s lighting. Stravinsky’s heady score was familiar to me from George Balanchine’s production of Firebird at New York City Ballet. I was the not so memorable green rooster. I was struck by the emotional nuances achieved by the PNB Orchestra under the baton of maestro Stewart Kershaw.

Sewart was PNB’s founding music director. We were saddened to learn of his passing last month. He helped to create the PNB Orchestra in 1989 and served as Music Director and Principal Conductor until 2009. He also founded the renowned Auburn Symphony in 1997. He was an inspired leader who brought music to our senses—leading players, dancers, and audience members to unforeseen heights and passions at the helm of our magnificent orchestra. We remain truly grateful for his profound contribution to PNB. The orchestra is a great source of pride for all of us at PNB. Stewart’s legacy continues and grows under the leadership of Emil de Cou and our fine musicians.

It is with great excitement and anticipation that we present this revival of Firebird. After twenty-one years, it takes a village to put it back together. Patricia Barker, a renowned Firebird, returned to the studio to coach our principals in the role. Her work has been first-hand, acute, insightful, and fun! Kent Stowell and Francia Russell have also been working alongside our artistic team to revive this compelling work. Additional and invaluable coaching was provided by Otto Neubert.

Sharing the program is Alejandro Cerrudo’s seminal work, Little mortal jump. This clever dance employs one of Alejandro’s trademark playlists—mixing artists from Tom Waits to Philip Glass. The work moves from creative to profound with many arresting moments along the way. Alejandro’s work has a raw humanity that defies words. He seems to understand our aspirations and challenges. We see ourselves reflected in his work. Have you ever wanted to take a big leap—say, into an orchestra pit? Ever wanted to touch someone else but your Velcro suit on that Velcro wall is holding you back? Ever wanted to push away all the walls that surround you? Alejandro gets you.

Second on the program is Red Angels by Ulysses Dove. Ulysses’ brother Alfred joined us to help coach dancers for these performances. This work also graced the PNB stage 21 years ago as part of our opening night gala in September of 2005. I was honored to be part of the original cast with New York City Ballet in 1994 and have staged the work for PNB multiple times over the past two decades. This piece packs a punch. Ulysses wanted to honor “the house of Balanchine” with speed, technique and musicality. Though Red Angels was created over thirty years ago, there’s no dust on this one. It feels as fresh today as it did at the premiere. Shout out to Michael Jinsoo Lim for his complete mastery of the violin—electric and non-electric!

This trio of winning works offers the absolute best of PNB. You’ll find tradition, innovation, and the unexpected. If you love this program, and I know you will, come back and see Giselle in April and our Jessica Lang program, ALL LANG, in June. We have an exciting spring ahead and we look forward to sharing it with you.

See you at the ballet,