A four-pack of world premieres underscores the commitment to dance innovation and encouragement of emerging choreographers that has been central to PNB’s mission from its inception.
Headliner Mark Morris—internationally acclaimed as his generation’s most musical choreographer—debuts his first commissioned ballet for PNB, set to cello concerto Kammermusik No. 3, Op. 36, No. 2 by Paul Hindemith. Artistic Director Peter Boal developed PNB’s NEXT STEP choreographers’ showcase to cultivate the Company’s current crop of young dance-makers.
NEXT STEP veteran and Company soloist Kiyon Gaines debuts his second ballet for the mainstage, Sum Stravinsky, an homage to inspirations George Balanchine and Kent Stowell. Another pair of NEXT STEP participants, corps de ballet dancers Margaret Mullin and Andrew Bartee, make professional leaps forward with their first works for PNB’s repertory, Lost in Light and arms that work.
Program Notes
Sum Stravinsky
Music: Igor Stravinsky (Concerto in E-Flat, “Dumbarton Oaks 8-v-1938,” 1937-1938)
Choreography: Kiyon Gaines
Costume Design: Pauline Smith
Lighting Design: Randall G. Chiarelli
World Premiere
The world premiere of Kiyon Gaines’ Sum Stravinsky is generously underwritten by Patty Edwards.
Choreographer Kiyon Gaines writes: “The creation of Sum Stravinsky is particularly special for me because it gives me a chance to both return to my roots as a choreographer and to give a special gift to PNB in its fortieth year. I was inspired by the Balanchine/Stravinsky relationship and also knew I wanted to add to that some of the influence of Kent Stowell. In my research for music by Stravinsky, I kept landing on the “Dumbarton Oaks” concerto. Kent had choreographed his own Dumbarton Oaks many years ago, and I remember watching it and thinking to myself, “This is one of the ballets I would absolutely love to dance,” though I haven’t had the opportunity to dance it yet.
“Creating Sum Stravinsky has given me this wonderful opportunity to revisit the music and create movement that expresses how the music makes me feel. As a choreographer, Balanchine is one of my biggest influences, and I am still amazed each time I see his works at how adept he was at moving large groups around the stage and creating great patterns, shapes, and formations. This is something I also wanted to explore while creating Sum Stravinsky.
“For the costuming, I had the honor to work with the very gifted and talented designer Pauline Smith, one of PNB’s very own. We decided to use the iconic «Balanchine blue” and a few similar shades of that color to round out the entire thematic idea of the work. I also wanted to take this opportunity to thank Peter, the amazing dancers and musicians, the costume shop, the stage crew, and you, my beloved audience, for always believing in my work and me.”
Sum Stravinsky is Kiyon Gaines’ second ballet choreographed for Pacific Northwest Ballet’s mainstage repertory, following M-Pulse in 2008.
The world premiere of Mark Morris’ Kammermusik No. 3 is generously underwritten by Peter & Peggy Horvitz, Marcella McCaffray, and The Paul G. Allen Family Foundation. Mark Morris’ Kammermusik No. 3 will be his first ballet choreographed for PNB’s mainstage performances. In 1978, Mr. Morris choreographed Brummagem, set to music by Ludwig van Beethoven, for PNB’s Summer Inventions.
arms that work
Music: Barret Anspach (Mille-fleurs, 2012)
Choreography: Andrew Bartee
Costume Design: Mark Zappone
Lighting Design: Randall G. Chiarelli
World Premiere
The world premiere of Andrew Bartee’s arms that work is generously underwritten by The Jerome Robbins Foundation and Glenn Kawasaki. Set to a commissioned score by Barret Anspach, arms that work is Andrew Bartee’s first ballet choreographed for Pacific Northwest Ballet’s mainstage repertory.
Lost in Light
Music: Dan Coleman
Choreography: Margaret Mullin
Costume Design: Alexis Mondragon
Lighting Design: Randall G. Chiarelli
World Premiere
The world premiere of Margaret Mullin’s Lost in Light is generously underwritten in part by Sharon Richardson and Joan Fitzmaurice.
Choreographer Margaret Mullin writes: “Lost in Light was inspired by the passing of a friend. I wanted to create something full of grace and beauty to celebrate life. This is my own way of putting some beauty back in the world after seeing the suffering it could hold. There is no story line. The title is intended to be hopeful. In reflecting on the loss of a loved one, it’s a moment to lose ourselves in the light that they created in our lives. I feel the sensitivity in Dan Coleman’s music lends itself perfectly to my goal of infusing dance with emotion without employing a narrative. It is an honor to have a moving, original score for Lost in Light.
“I also set out to celebrate and honor PNB’s balletic legacy by highlighting the poise and elegance of its dancers. I hoped to create a piece that showcases the classical strength of the dancers and also their emotive and poignant performance quality. In this regard, I pay homage to one of my greatest choreographic influences, Antony Tudor. His aesthetic shaped me greatly as a dancer, and I hope to preserve his choreographic language through my work as a choreographer.
“Finally, collaborating with my longtime friend, costume designer Alexis Mondragon, is a dream come true. She has an authentically fresh style that enhances the atmosphere of the ballet. Alexis, Dan, and I are all Tucson, Arizona natives.”
Lost in Light is Margaret Mullin’s first ballet choreographed for Pacific Northwest Ballet’s mainstage repertory.
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