PNB's 'Sleeping Beauty' is a real dream

When Pacific Northwest Ballet did its first production of "Swan Lake," in 1981, it was a symbol the company had come of age. "The Sleeping Beauty," two decades later, was another milestone in the growing sophistication of its physical and aesthetic resources.

The production, acquired from English National Ballet, has been revived twice, in 2003 and again this month at McCaw Hall. At first, five years ago, the company, despite careful coaching, could look a little ragtag, pushing ever so slightly beyond the edge of its collective capabilities. That was less evident two years ago and even less so Friday night. There was gleaming polish, in the cast I saw, greater grace and more balance in style and manners from principal dancers to the corps, which certainly included those from the PNB School. It also seemed to me there was more simplicity yet character throughout the three-hour evening.

This production raises no eyebrows. It is pretty and conventional -- a perfectly good introduction to a city that has never had a "Sleeping Beauty" in residence -- and should wear well until it is time for something more adventuresome. Ronald Hynd's choreography is faithful to Marius Petipa, who choreographed the original for the Maryinsky Theater in St. Petersburg in 1890, as well as the Russian ballet-master Nicholas Sergeyev responsible for bringing the ballet to the West. Peter Docherty's decor -- rather simple sets but opulent costumes -- is a link to the English tradition of the ballet.

There are more than 30 named parts in "Sleeping Beauty," a rather staggering number to cast. And so PNB double- and triple-casts the roles, including nearly a half-dozen couples doing Aurora and Prince Florimund.

Noelani Pantastico danced Aurora opposite Jeffrey Stanton. Since she danced the role three years ago, her virtues are known. She has all the youthful radiance the part requires plus limpid phrasing and extraordinary sense of balance. The celebrated "Rose Adagio" seemed to hold no terror for her. She is quick as quick gets, but slow, expansive dancing was never denied. She was gentle, then bold, elegant and passionate and infinitely appealing. She commanded the role. If anyone could take one's breath away Friday, it was she -- for all the right reasons.

Stanton is always a good, stable, empathetic partner. I thought his dancing gained a sense of scale over his Prince from 2003, but he was still gallant. It is a hard role from which to elicit definition.

Stacy Lowenberg repeated her Lilac Fairy with a regal manner, uncommon beauty and complete authority. She has genuine stage presence. Her opposite -- not romantically but spiritually -- Carabosse, was danced with flair, a touch of humor and theatrical emphasis by Timothy Lynch. In addition to the Lilac Fairy, there is a clutch of other fairies -- all godmothers to Aurora -- but none so important. As a group, they danced one after another in the Prologue with a stylistic aplomb I don't remember from previous years. They possessed merit, with Carla Korbes, Maria Chapman and Mara Vinson to be noted. Chapman also danced the Countess in the second act, and how chillingly effective she was. Gallison, the Prince's Tutor, is being danced at every performance by Flemming Halby, a 20-year veteran with the company who is retiring in June. That he brought human vibrancy and gentle wit to this character part is not surprising. He will be missed.

The narrative of the ballet is finished by Act 2 -- titled "The Vision and the Awakening" in this production -- and so the final act is simply a series of divertissements. Carrie Imler, escorted by Christophe Maraval and Lucien Postlewaite, were a very good opening gambit. They danced with polish and exactitude. Postlewaite, a member of the corps, was in impressive company, and he acted as if he belonged there. Lesley Rausch and Kiyon Gaines were a particularly entertaining Puss in Boots and White Cat, as were Rachel Foster and Taurean Green as Red Riding Hood and the Wolf. The Bluebird Pas de Deux should dazzle with virtuosity and excitement; Vinson and Le Yin were not quite there. Pantastico and Stanton brought the evening to a brilliant close.

Without Tchaikovsky's lustrous score, an icon of high Romanticism, there would be no "Sleeping Beauty." The task of the conductor and his band is to do it justice, which Stewart Kershaw did.

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