Seattle Spring Arts Preview 2014: Dance Events
These dance performances delve into the good, bad, beautiful and bracing aspects of being human
By Seattle Mag February 14, 2014
This article originally appeared in the March 2014 issue of Seattle magazine.
!–paging_filter–pSiddhartha’s quest for enlightenment is the inspiration for Songs of the Wanderers, a masterwork by Taiwanese choreographer Lin Hwai-min. Performed by his own Cloud Gate Dance Theatre of Taiwan, this blend of contemporary and traditional dance features a stunning set covered in 3 and a half tons of golden rice. 3/6–3/8. Times and prices vary. Meany Hall, U.W. campus, near the intersection of 15th Avenue NE and NE 40th Street; 206.543.4880; a href=”http://www.meany.org” target=”_blank”meany.org/a iframe width=”560″ height=”315″ src=”//www.youtube.com/embed/2s-kWMapYCM” frameborder=”0″ allowfullscreen/iframestrong/strong Only five dancers have ever performed choreographer Molissa Fenley’s grueling and gorgeous solo, State of Darkness: the choreographer herself (1988), img src=”/sites/default/files/newfiles/0314_dance2.jpg” style=”float: left; margin: 10px;” height=”242″ width=”400″PNB director Peter Boal (1999), and PNB dancers Rachel Foster, James Moore and Jonathan Porretta (2007). The latter three will alternate performances for the restaging of this extraordinarily physical work, in which the soloist shape-shifts into primal, animalistic forms as he or she resists the invisible but heavy pull of dark forces. The piece is one of four on the Director’s Choice mixed bill, along with a world premiere by Alejandro Cerrudo of Chicago’s Hubbard Street Dance. 3/14–3/23. Times and prices vary. Pacific Northwest Ballet, 301 Mercer St.; 206.441.2424; a href=”http://www.pnb.org” target=”_blank”pnb.org/a em(Photo: Angela Sterling)/em strong/strong Swiss ballet company Ballet du Grand Théâtre de Genève makes its Seattle debut with Préludes et Fugues by Israeli choreographer Emanuel Gat. Accompanied by a live solo pianist (playing Bach’s Well-tempered Clavier), the piece is a fantastically fluid exploration of human interaction. 4/3–4/5. Times and prices vary. Meany Hall; a href=”http://www.meany.org” target=”_blank”meany.org/a iframe width=”560″ height=”315″ src=”//www.youtube.com/embed/Lg5uAXFzwsA” frameborder=”0″ allowfullscreen/iframestrong /strongNew York–based Alvin Ailey American Dance Theater never fails to combine a silencing grace with jaw-dropping athleticism. During this appearance, the company will perform Ailey’s signature work, ema href=”http://www.youtube.com/watch?v=l9uEq9Sjefglist=RDgWJzSP7irwMfeature=shar…” target=”_blank”Revelations (1960), a gloriously visual/a/em, gospel-infused tribute to African-American tenacity and celebration of sweet freedom on the other side of slavery. 4/11–4/13. Times and prices vary. The Paramount Theatre, 911 Pine St.; 206.682.1414; a href=”http://www.stgpresents.org” target=”_blank”stgpresents.org/a strong/strong Avant-garde French choreographer Alain Buffard died in December, which is all the more reason to see his strange and wondrous “choreographed opera,” Baron Samedi. It’s a prime example of the surreal and scathing works he is known for—a carnivalesque look at the grandest and grittiest truths of humanity, featuring a Haitian high priest of debauchery, a live band and a sloped stage that performers trudge up and tumble down. 5/8–5/11. 8 p.m. $25. On the Boards, 100 W Roy St.; 206.217.9888; a href=”http://www.ontheboards.org” target=”_blank”ontheboards.org/abrbr/p
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