When speaking of student endeavors, one is tempted to say that the future is bright, but after seeing Pacific Northwest Ballet’s NEXT STEP, I would argue that the present is blindingly bright as well. On June 4th, On The Boards Theater was bursting with palpable excitement for PNB’s annual NEXT STEP performance. Where else can you see six world premieres in one night, and for one night only? It has taken me far too long to get myself to a NEXT STEP performance, but I am so grateful that this year I was able to see these remarkable pieces. This year’s choreographers featured four solo choreographers: Lily Wills, Luca Anaya, Noah Martzall, and Melisa Guilliams, as well as two powerhouse choreographic teams: Amanda Morgan/Christopher D’Ariano, and Elle Macy/Dylan Wald.
Although I’ve seen the Professional Division students perform plenty of corps roles on stage with the company before, it is a completely different thing to see them step into lead roles in a show all their own. I was floored by their artistry, cohesion, and exuberance, to the point that I found myself wishing that PNB had a second company.
Lily Wills opened the night with Isle of Woman, a piece inspired by the Greek myth of Circe. I could not help but smile at all the little gestures and references that would make any ballet-loving heart very happy. Although it was clearly a unique creation, I saw little hints to the classics woven throughout, nods to the greats which strengthened the piece while simultaneously laying it on the same plane. Fancy Free, Swan Lake, and A Midsummer Night’s Dream poked through in little glimmers, in what may be the movement equivalent of literary tropes or recognizable themes. It was a beautiful piece, and one which I could easily see being expanded to a full length. The world needs more story ballets!
Moving on from the land of Balanchine-esque narrative ballet, Luca Anaya’s piece: Spectators, brought us into the world of dark, fluid, emotion-rich contemporary dance. Aki Widerquist completely stole the show in the lead role that I can only think to label “the outsider”. The way that Luca Anaya incorporated breath was potently haunting, and highlighted Widerquist’s complete commitment to every aspect of this demanding piece. Whenever a choreographer lets the music fall away and the sound of movement itself become the only tune we hear, it always illuminates something distinctly human about the process of art. Spectators was thought provoking, moving, and distinct until its very last breath.
Noah Martzall carried us off to some other land with Fracture into Pieces. One where bodies become illuminated shapes and lose their individuality to gain a collective instrument which catches light and creates carefully crafted shadows. With a cast of only seven dances, it was the smallest cast of the night, and yet they created a powerful world made of colored forms reinventing themselves again and again. I didn’t want this piece to end. It was intoxicatingly beautiful, and let the rest of the world fall away.
To say I’m still obsessed with DreamCity would not be an over-exaggeration in the slightest. It’s been nearly two weeks, and yet the music, mood, and attitude of this piece keep slipping into my mind. DreamCity by Christopher D’Ariano and Amanda Morgan was perfection on every level. A study on the web of memory, and the interactions that we let slip past, this piece held space for both intimate connections and larger group work, which could only be described as “snazzy”. With an undeniably distinctive flair, and a sense of nostalgia which seeped from every movement, this piece was unforgettable, and one which I very much hope to see again someday.
Mesmerizing, and flowing as smoothly as melted chocolate, The Spotlight Effect by Melisa Guilliams was brought to life with a rich score, and immaculate musicality. It felt so perfectly human, and was deeply moving in each rise and fall of breath. Transporting us to some other place where every emotion could be pronounced with a collapsing chest, the dark shadows and contrasting spotlight created a moody landscape for the depth of this piece to land. This was a piece that I could have watched all night, and one which seemed it could unravel and respin itself a million times over.
Closing the night in the most perfect way, Elle Macy and Dylan Wald’s Ain’t Misbehavin’ brought newfound energy to the stage. The slow open of the curtain felt like choreography itself, and then, there lay before us a glorious new land. How could one possibly sit through this piece without grinning like a fool? It was packed to the brim with flair and roaring personality. Unique from the rest due to its jazzy, old-school Broadway spirit, it was a breath of bright joy, and charming in every way. So many delights were woven into this piece: from a final can-can line, to high-flying grande jetés, to the “for you, for you, for you, for you” bit, to the perfectly chosen score that made us all want to dance in our seats. If Elle Macy and Dylan Wald haven’t yet considered choreographing a musical, I highly suggest they do!
I never wanted this night to end, and found myself wishing that there were more performances so that I might catch another glimpse of these masterpieces. In addition to being a brilliant showcase of the Professional Division students, and the choreographic talents of PNB’s company dancers, it also felt like such a celebration of the Seattle dance community, and the many familiar faces that packed the audience. Thank you to everyone that made this unforgettable night possible! I’m already looking forward to next year’s show.
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