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Critical Dance Goes Backstage – A Daily Diary
Tonight PNB will open their London season with Silver Lining, so
naturally all of today’s preparations were geared towards getting ready for
curtain time at 7.30pm. Jet lag or no jet lag, class is the one constant in a
dancer’s life and so all company members found themselves squeezed into the
Ashton studio at 11am to start their working day. There did not seem to be a
free space on any of the stationary or portable barres and the combinations in
the centre often had to be executed in two or three groups in order to ensure
everybody had the necessary minimum space. I was told that the dancers were used
to more space in their own studios in Seattle. I was very impressed with the company members' total concentration and focus
especially since they probably have not all completely recovered from jet lag
yet. Each of them seemed to have their own favourite stretches to help them
prepare their bodies for the dress rehearsal ahead. It was a remarkable
experience to be able to watch so many gifted dancers with distinct
personalities in one room. According to PNB Marketing Director Margo Spellman,
one of the dancers present was a former company member, Charles Newton, who had
retired last year to become a teacher in Alaska. Newton had started rehearsing a
few weeks ago, rejoined PNB for the tour and would appear in tonight’s
programme. Spellman, who very kindly looked after me during my visit to the theatre, and
a couple of other Company personnel I met briefly remarked that they were
very pleased that it was not raining this morning. I am afraid by the end of
this week PNB will find that London weather is not much to write home about. For
the moment I keep my fingers crossed for them for opening night. Good luck!
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July
2, 2002
At 1pm, the dress
rehearsal of Silver Lining started on stage most interestingly with a
briefing about how and in which order bows were going to be taken at the end.
The audience attending a performance never realizes how much effort goes into
all the details we take for granted. In the course of the rehearsal some of the
lighting arrangements were fine- tuned and some slight changes in the tempi of
the music agreed with Conductor Stewart Kershaw. I learned that the acoustics in
the Sadler’s Wells Theatre had to take some getting used to because PNB are
used to performing at a larger venue at home. One of the dancers appearing in a
tap number was carrying a microphone to ensure he could be properly heard above
the music. Although the members of the press were told that the dancers would
have to preserve their energy for tonight’s performance and would not dance
full out and have to mark on occasion, Ken Stowell’s choreography to music by
Jerome Kern came across as lively and bubbly- like champagne. I very much look
forward to seeing an actual performance.