Today we are thrilled to welcome Pacific Northwest Ballet‘s Jessika Anspach McEliece to the site officially as a contributing writer. She’ll be writing about a variety of topics for us, starting with this post about George Balanchine’s “Jewels”, which the company will be performing, starting September 26th in Seattle.
by Jessika Anspach McEliece
It’s Tuesday but it feels like, um, I don’t know… not Tuesday. Coming back to work after a break always gives me that jet-lag feeling, no matter what time zone I’ve been in. PNB dancers are doing pirouettes across the grey marley floor of Studio C and between thinking about getting my foot immediately to passé and keeping my standing leg engaged, my rehearsal schedule for the day runs through the ticker tape of my brain. Confusion. Then holes. Then blanks.
I turn to the blonde girl with hyper-extension for days who’s patiently waiting her turn and ask, “Emma, do we have Rubies first or is it Emeralds?”
“I’m pretty sure we have Rubies 12-1 and Emeralds 1-2 but with the principal couple…” she replies. And yet I can tell that her ticker tape is following a similar pattern by her perplexed eyes.
“Oh yeah. That’s right… But I’m pretty sure Emeralds is only a half hour. I thought we had a break from 1:30 to 4, and finished with Diamonds. Is that just demi women or corps women too?” I reply.
“It’s demi and corps men and women. I think we’re piecing together the finale. Are you sure Emeralds is only a half hour?”
“Ha. I’m not sure of anything.”
Emeralds, Rubies and Diamonds – juggling these ballets can be a bit of a handful at first. Yes, Jewels is a full-length ballet. Yes, it has the same choreographer – the genius George Balanchine. All the costumes are designed by the same woman – the fabulous Karinska, and thankfully there’s not a single hair change during the performance… I think. But that’s about it when it comes to continuity.
No two stones are alike, and that is most definitely true of Jewels. Like any beautiful gem, we see the many facets of Mr. Balanchine’s choreographic prowess.
In Emeralds, set to the very French and very impressionistic music of Gabriel Faure, the movement is soft, yet sweeping. The curtain opens to a sea of emerald green: a principal couple dancing amid ten corps ladies who bourrée from one formation to the next, rarely coming off pointe. The effect: a floating, almost shimmering quality–like lily pads glistening on a glassy pond in one of Monet’s landscapes. [Read more…]