![]() ![]() Both were charming and who showed their considerable technique – including Biasucci’s pointe work – to good effect, as did Benjamin Griffiths as the Toy Soldier, beating his entrechats with great clarity, height and, as a virtuoso move, with flexed feet. Of the dancing in Act I, memorable and notable were the Harlequin pair of Amanda Clark and Leta Biasucci. Mullin’s ease of technique in the demands of her group’s pointe work, was nothing less than delightful and impressive, with its unusual pas de bourées, deft changes of weight, smooth turning hops on pointe with développés at the same time, and pirouettes to the knee, all whilst faking playing tunes on Pan Pipes. Probably the best piece of choreographic invention and development are the brilliant Mirlitons (Marizpan Shepherdesses, led by soloist Margaret Mullin) closely followed by the Waltz of the Flowers, in which Chelsea Adomaitis was a dazzling Dew Drop who just floated – tremendous elevation, ballon, and controlled technique and the Grand Pas de Deux. Was it me, or did he get bigger and more prominent each time? Who could not enjoy the reference to and use of Falconer’s original Olivia the Pig as a box onlooker, clearly enjoying the ballet, much to the chagrin of his matronly box-mate, peering down at piglet through her lorgnette. So similar to some photos and films of him – and true from seeing him in person once coming in to observe a School of American Ballet men’s class. Balanchine himself “appears” not once but thrice – as a bust as part of three different scenic drops, with his head turned to the right and seeming to look down his nose at something. ![]() They are bright, colorful, with dashes of humor and whimsy. Ian Falconer’s designs meet all expectations…and then some. ![]() One of the greatly anticipated events of the 2015-6 ballet season in Seattle was the unveiling of Pacific Northwest Ballet’s new production of George Balanchine’s The Nutcracker new to the company both in the sense of choreography and concept and also that of the critical and vital elements of sets, costumes, and scenery. Northwest Ballet company dancers and PNB School students in the finale of George Balanchine’s The Nutcracker ![]()
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