Maris Antolin
Q&A with Soloist and Stager Ezra Thomson
PNB soloist Ezra Thomson is no stranger to New Works. His resume includes originating roles in works by Alejandro Cerrudo, Edwaard Liang, Robin Mineko Williams, Donald Byrd, several current PNB dancers and more. For BOUNDLESS, he’s taking on the role of stager for Jessica Lang’s Let Me Mingle Tears With Thee. So we got his perspective on New Works, PNB, and the upcoming Rep IV.
What does it mean to be a stager?
In this capacity, I am Jessica’s assistant. The role of stager has many hats. I learn phrases that have been created and relay those to the dancers. I help clean the dances once created. I offer my opinion when requested. And most notably, I document the entire process so that if the piece is done again, it can be replicated as accurately as possible.
How does dancing in a New Work, like Let Me Mingle Tears With Thee, differ from revisiting an established work in PNB’s repertory?
Dancing in a New Work is an amazing and special feeling as a dancer because you are the originator. There is nothing before you and there is so much freedom.
What is the value of New Works for a company like PNB?
New Works keep an audience engaged and excited about our ever growing art form. Ballet is not only The Nutcracker and Swan Lake, but also new productions that speak to a changing world and an ever changing dancer. From a dancer’s prospective, there is nothing like a New Work to really push you to the next level.
Do you have a favorite New Works experience?
I couldn’t possibly pick just one! The most memorable New Works experiences are solely from working with the choreographer. Finding out how they like to work, what they want to see, how the communicate, and then doing your best to bring their work to life.
What are you most looking forward to with Rep IV?
Of course I am most looking forward to finishing this process with Jessica. It is a dream come true to be working in this capacity. I hope to do my best and I can’t wait to see the final product of what Jessica creates.
The financial costs of New Works are more than just time in the studio with dancers and choreographers. Building a New Work means not only new costume designs, but hours of work by our PNB costume shop. New Works means practice and performance of new music by our orchestra and conductors and hiring guest vocal performers. By supporting the New Works Initiative, you make all of these elements possible. Support Let Me Mingle Tears With Thee and all of PNB’s world premieres with a donation to the New Works Initiative.
Dear Pacific Northwest Ballet,
Please know this comes from a place of caring and love for the art of dance and for the institution that is the Pacific Northwest Ballet.
I would like to express my thoughts and feedback as a season ticket holder who attended the recent Boundless performance. While I appreciate the high standard of dancing I witnessed, I have some concerns that may impact my decision to renew my subscription.
I believe that the issue lies with the choreography and the overall artistic vision and management of the troupe, which has resulted in a lack of contrast between the male and female dancers. As an avid ballet enthusiast, I look forward to witnessing the beautiful interplay between masculine and feminine elements, which is a fundamental principle of the art form (at least it has been historically).
While some may argue that the lack of distinction between male and female dancers is a positive aspect, I firmly believe that there is beauty in the physical nature of humanity, and this should not be overlooked. I urge the ballet to retain this important element of contrast, as it is one of the central themes of ballet and adds to the overall aesthetic experience.
I witnessed male dancers being carried by women, men dancing romantically with other men, and men in dresses. While I understand the need to explore challenging themes in ballet, I request that at least two of the three performances be dedicated to showcasing the traditional interplay between the masculine and feminine and when doing so, not to poison-pill the experience with dark and sinister music.
I believe that powerful men lifting petite and graceful women, displaying a classic power disparity, is a crucial aspect of ballet that should not be lost. Humanity is at its finest when it demonstrates power while acting nobly and kindly towards those who are under its influence.
As a younger person in my 40s and an immigrant from South America, I may not represent the average demographic, but I believe that my feedback is valuable. I hope that my comments are taken into consideration and that the Pacific Northwest Ballet continues to excel as an institution.
I had a mostly positive experience with last year’s Season’s Canon and wrote a full review here with critiques in other areas if you are interested: https://paulstreehouse.wordpress.com/2022/11/14/pnb-seasons-canon-my-thoughts/
Sincerely,
Paul Siegel