By Marcie Sillman When Kent Stowell and Francia Russell arrived in Seattle in 1977 to take the reins of a five-year old ballet company, they had one big goal: “We wanted to make a company and a school that we would be proud to be part of as dancers,” Russell recalls. Forty-five years later, the
Pacific Northwest Ballet Jean-Christophe Maillot / Cendrillon by Tessa Perkins Deneault The Cinderella story remains a common trope in popular culture and art. In 2016, San Francisco Ballet performed Christopher Wheeldon’s version and the National Ballet of Canada performed James Kudelka’s, to name just two notable dance productions. And, in February of this year, Seattle’s
by Gigi Berardi Small cafés, narrow streets, bicycles, baguettes, state support for education, music and dance — Europe seems to have it all, and North American dancers are moving there to join small ensembles, state-supported companies, circuses and cabarets. Just what are the advantages and the challenges of making the move? As Danielle Gould, currently