Pacific Northwest Ballet takes fine first steps into new era

Peter Boal kept his words short and simple. "This," he said, "is the program that I would want to sit out front and watch."

Boal, new artistic director of Pacific Northwest Ballet, addressed the audience Thursday night before the curtain rose on the first ballets he had chosen for the company. "Director's Choice" featured four ballets: one by Boal's mentor Jerome Robbins, two by George Balanchine (in a program note, Boal says simply of Balanchine, "He is the reason that I dance"), and one by contemporary choreographer William Forsythe. With the exception of Forsythe's "Artifact II," in the company's repertory since 1998, all are new to PNB, and all bode well for an energetic, exciting new era for the company.

Robbins' "In the Night" opened the evening on a high note. Set to the precise, dark beauty of a series of Chopin nocturnes (played delicately, on solo piano, by Dianne Chilgren), it's a glimpse at three couples, all of whom seem to have wandered outside during an elegant party to look at the stars.

It's an emotional and immensely moving ballet, and it requires of its dancers not only acrobatic lifts and precise technique, but the ability to convey character. And while there's room for improvement in that area — which surely Boal, who worked for years with Robbins, can help provide in time — the dance became a showcase for a dazzling performance by Louise Nadeau and Christophe Maraval as the tempestuous third couple.

In their huge, swirling lifts, he seemed to be stirring the stars with her skirt; in another, perfectly controlled, he almost seems to drop her, then sets her down as gently as if the floor were made of velvet. Nadeau — in a layered black gown reminiscent of the shadowy tutus of "La Valse" — conveyed a world of meaning in a sudden, imperious raise of an arm, or in the quiet turn of a wrist while kneeling.

"Duo Concertant," a Balanchine duet that takes the form of an onstage concert (with piano and violin), likewise featured marvelous work by Nadeau, sparkling and playful. Unfortunately, here she was not matched by her partner, who often seemed unaware of her presence. Le Yin is a powerhouse of a dancer with astonishing jumps, but the teasing intricacy of this ballet seemed difficult for him, as was the change of mood in its dark, wistful epilogue. It's good to see Boal encouraging his dancers to step out of their comfort zones, but their pairing seemed an odd opening-night casting choice.

"Artifact II," a large-scale, angular work frequently punctuated by the well-timed crash of a descending curtain, was danced with great energy and precision, ending in a haunting flexed-foot march. It's now familiar to PNB audiences, but still thrills: Ariana Lallone, in particular, flings about her endless limbs with great abandon.

And the evening's closer, Balanchine's "Symphony in Three Movements," was a wonder, a big, busy ballet involving nearly the entire company, performed at breakneck speed to an intricate Stravinsky symphony. Dancers flew through the air in the ballet's signature move: a simple, soaring jump, with both legs tucked up. The central pas de deux, elegantly danced by Patricia Barker and Casey Herd, played with that move, with lifts echoing the bent-knees position. Among the other dancers, Jonathan Porretta (newly promoted to principal this season) stood out, attacking his variations with fiery confidence.

If this is what the new regime at PNB looks like, I can't wait to see more.

Moira Macdonald: 206-464-2725 or mmacdonald@seattletimes.com