1972-1977: The Search for an Artistic Director

With PND’s budget of $32,000, they hoped to hire dancers and, critically, an artistic director. In October of 1973, the PND board hired Leon Kalimos (1917 – 2006) as the administrative director of the company. Previously, Kalimos was the general manager of the San Francisco Ballet, and he immediately knew who he wanted as artistic director. From his time at the San Francisco Ballet, Kalimos was familiar with former San Francisco Ballet dancer Kent Stowell and his wife Francia Russell. At the time Stowell and Russell were co-artistic directors of the Frankfurt Ballet and enjoying their life in Germany. In 1974, Stowell turned down Kalimos’ request, writing “if things don’t work out for now, perhaps they will in the future. … we will all survive and go on doing what we are doing, and perhaps fate will bring us together at some later date.”

Unable to secure a contract with Stowell and Russell, PND hired Janet Reed (1916-2000) as a ballet mistress for the company in the spring of 1974. Reed brought a wealth of knowledge and prestige to PND. She had a successful performance career dancing for respected companies like the San Francisco Ballet, American Ballet Theater, and the New York City Ballet. Reed played an important role in PND’s early years, as she auditioned the very first group of dancers for the company and school. In 1975, she oversaw PND’s first full-length production, Lew Christensen’s Nutcracker. Nutcracker was a smashing success, selling out all of its eight performances.

1977-1982: New Beginnings

Hayden’s resignation presented a challenging situation for PND. Among the difficulties of negative press and dancers leaving the company, PND was without an artistic director. Perhaps this was as fate intended, as Kent Stowell and Francia Russell were now ready to accept the artistic director position. In September of 1977, Stowell and Russell flew to Seattle. Luckily, they arrived well stocked with lots of elbow grease, as there was a lot to be done at the floundering dance company. 

Russell and Stowell dedicated a tremendous amount and time and energy to seeing PND grow. Russell focused her attention on the PNB school, creating class levels and a syllabus. Under Russell’s watchful eye, the company was improving. Dance critic Mindy Aloff wrote, “Francia Russell’s coaching and schooling clearly are first-rate, and [PNB] has a good chance of becoming something quite beautiful in a few years.” While Russell was sharpening the dancers’ skills, Stowell was choreographing brand-new pieces for the ballet. Stowell created shorter, abstract works like Over the Waves Symphony No. 5, and Ragtime. He also created new versions of story ballets, like PNB favorite Coppélia, which utilized all new sets.

Under Stowell and Russell’s leadership, Pacific Northwest Ballet was developing into a prestigious dance company. In 1978, PNB was awarded a $150,000 grant from the National Endowment from the Arts which was a much larger amount than the $32,000 budget of just six years before! The company had grown in numbers as well with 21 dancers and six apprentices on contract. In that same year, the company was able to completely separate from the Opera. Finally their own entity, the Pacific Northwest Ballet Dance Company changed its name to the much shorter and snappier Pacific Northwest Ballet. At the end of the ‘70s, PNB was on the cusp of producing two of its most beloved ballets: Kent Stowell’s Nutcracker and Swan Lake, which would launch the company into world-renown. 

As we celebrate our 50th anniversary, we’d love to hear about how PNB’s a part of your story; write us a birthday card and send us a gift!