Pacific Northwest Ballet's current program based on the music of Stravinsky offers a treat for everyone, no matter what his or her dance preferences.
For those who can't contemplate a Christmas without a "Nutcracker," there's the equally pretty (but much shorter) fairy tale "Firebird" choreographed by PNB artistic director Kent Stowell. This one-act ballet retells the Russian legend of the Firebird who leads Prince Ivan to an enchanted castle. There the Prince finds an enchanted Princess and, with a little magical assistance from the Firebird, manages to defeat the monsters sent by the wicked wizard Kastchei. A little more magic is done and Kastchei is banished, making the world safe for princesses everywhere. Everything ends in the lovely wedding procession, full of glittering costumes and cute children drawn from PNB's school.
Stravinsky's music for "Firebird" was his first score for the ballet. Composed in 1910, the lush melodies recall the dance music of Tchaikovsky. This production, which premiered in 1989, also harkens back to the Russian roots of the ballet, especially in Ming Cho Lee's picture-book sets. Theoni V. Aldredge's costumes tend toward cute Russian peasant except for the fantastical monsters with their almost aquatic tendrils and fins.
On opening night, Batkhurel Bold made suitably handsome prince. Strong, sturdy and athletic, Bold made it easy to believe that his Ivan would leap through the forest in pursuit of a Firebird, and yet turn suitably tender at the sight of the captive princess danced by Maria Chapman. A member of the corps at PNB, Chapman is always lovely in the bigger roles and makes a great princess.
Character dancer Uko Gorter could do wicked wizards in his sleep. For this outing as the villain of the piece, Gorter had a wonderful nasty time as he strode across the stage, menacing the company with Kastchei's extra-long and twisty fingernails.
But the real fireworks of "Firebird" always belong to the lady in red. Donning the scarlet tutu for opening night, Kaori Nakumura sizzled as she streaked across the stage. Whether spinning like top or pausing for a moment of sad reflection, Nakumura's bird was the embodiment of Stravinsky's magical music.
Some people prefer Balanchine to fairy tales when they go to the ballet. For that group, PNB served up "Apollo," the first of many collaborations between Stravinsky and Balanchine. Originally staged in 1928, when Balanchine was only 24, the ballet alludes to the classical myths surrounding the Greek sun god.
Born on an island, Apollo eventually becomes the champion and protector of the muses, fostering the arts of music, dance and theater. Stacy Lowenberg got stuck with the rather thankless task of being Apollo's mother, Leto, waving her arms on a platform above the stage as the fully-grown Apollo pops into view underneath her. Once Leto's handmaidens, nicely done by Lindsi Dec and Kylee Kitchens, unwrap Apollo from his swaddling clothes (creating a few snickers in the audience), Stanko Milov got to let loose as the god in white.
Balanchine cut Apollo's muses down to three ladies instead of the classical nine, but they were a mighty classy three on opening night. Mara Vinson was a sprightly Calliope, and Carrie Imler was a supremely self-assured Polyhymnia. Imler appeared to enjoy this role more than any other this season and looked magnificent in her solo. As Apollo's favorite muse, Patricia Barker was the embodiment of Terpsichore, the spirit of dance. Flawlessly good as always, Barker went into long extensions of arm and leg with deceptive ease.
Showing more effort and less godlike impassivity, Milov attacked Balanchine's choreography with his trademark ferocious energy. He was a very human Apollo who strained to bring forth music and put his passion into the arts, often in sharp contrast to Stravinsky's almost tranquil music.
But the real passion of the evening came with "Rite of Spring." Using American choreographer Glenn Tetley's animalistic approach to this difficult piece, PNB easily satisfied those ballet fans who like their dance raw, modern and a little bit naked.
Jonathan Porretta danced Tetley's choreography as though it had been built on his body. This powerful young dancer, who just keeps getting better and better, soared through the final act of the evening.
As much of a showstopper as Porretta's sacrifical virgin was, Tetley's choreography requires a company of dancers moving fast through Stravinsky's implausible tempo. That everyone started and ended where they needed to be, when they needed to be there, and with real grace, is the mark of that greatest charm of ballet, the ability of a large group of individuals to look like one big organic whole.
So the applause at the end of "Rite of Spring" was equally earned by Porretta, Barker, Christophe Maraval, Rachel Foster, Jodie Thomas, Casey Herd, Lucien Postlewaite, Dec, Kitchens, Lowenberg, Brittany Reid, Alison Basford, Chapman, Chalnessa Eames, Lesley Rausch, Kara Zimmerman, Karel Cruz, Kiyon Gaines, Taurean Green, Sean Whiteman, Nicholas Ade, Brennan Boyer, Barry Kerollis, James Moore and Josh Spell.
It took all of the dancers listed above, as well as the 65-member orchestra under the able leadership of Stewart Kershaw, to make "Rite of Spring" the marvel that it was. Now, we can only hope that this version will become a permanent part of the company's repertoire.
"All Stravinsky" continues through Sunday, Feb. 13, at Marion Oliver McCaw Hall. For more information, see www.pnb.org
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