Diving Deeper with New Works:
A conversation with Resident Choreographer Jessica Lang
Pacific Northwest Ballet’s New Works Initiative has been an important part of realizing the Company’s artistic vision since 2005. It has facilitated the creation and acquisition of nearly 150 new works. Countless choreographers, including Donald Byrd, Edwaard Liang, Annabelle Lopez Ochoa, Robyn Mineko Williams, Justin Peck, Alexei Ratmansky, Christopher Wheeldon, and Twyla Tharp have created new ballets through this initiative. Over the last decade, Peter Boal has selected Twyla Tharp, Ian Falconer, Alejandro Cerrudo, and now Jessica Lang for artistic residencies. This deeper level of partnership allows the Company and artist alike to develop a close working relationship over an extended period of time. This season, after several successful creations for the company, Jessica Lang becomes PNB’s newest Resident Choreographer for the next three seasons. Her work for the company has always been richly layered and deliciously complex. As we embark on this new relationship with Jessica, we are excited to see her latest work on stage at THE TIMES ARE RACING. We sat down with Lang to discuss her residency and her newest work.
What are some of your dreams and plans for this residency?
I’m looking forward to diving deeper into the already strong foundation I have with the entire Company, the entire organization. This starts, of course, with my connection with the dancers, but includes every department, every aspect of the organization from production to education, development, audience and board relations. I want to contribute in any way I can. The work that we create and bring to the Company and our audiences is really important and I understand the weight of my responsibility in the role of Resident Choreographer. I hope to make an impact with my artistic visions that will provide rich artistic nourishment for everyone. I want to tackle current-day, universal themes that can be applicable to many populations of people.
While creating new works is incredibly important, having the opportunity to revisit ballets that I’ve made on PNB over the past decade will allow me the opportunity to see the arc of my own development through this lens. This is what will make the All-Lang program special to me. It will also demonstrate how important working consistently with the same company over a generation of dancers is, and how this relationship affects our growth as artists and human beings.
How will your creative process change as a result of this residency?
I’m really interested in the evolution of my approach to the process. When you’re a guest choreographer, you never quite get the opportunity to settle in and feel “at home.” Now I can get a bit more comfortable and will push myself to feel that type of freedom and ease. I always give my best to PNB, but this longer arc of commitment will help me grow even closer with individual dancers and develop specific rep for them. I can really say “Ok, these are my dancers, and how will I dream specifically for them?”
It’s remarkable to see how my relationships have developed with the dancers since I first started working with PNB. Take Dylan Wald, for example. The first time I worked with him he was an apprentice and Peter encouraged me to cast him because of his potential. Dylan has used that ballet, The Calling, as one of the many artistic works to develop his artistic sensibilities. It has been fascinating to watch him perform this same work throughout the years as he rose to Principal with the company. We have both grown through that experience and each time I return to PNB I dream about what I can make for him which continues our journey of “artist and muse.” I think about each dancer in the company this way – they are all my muses. I’m percolating on what we can make next for each of them. During the next three years, I will juggle between how I can sustain the relationships I have with the seasoned dancers pushing them even farther, contemplating what they need at that stage in their careers, while asking myself the same types of questions for those just starting out. At the root of it, I care about the dancers very much and this is what will support our artistic adventure ahead.
What are you particularly excited about for this first piece of your residency?
I really wanted to focus on an emotional experience for this piece. I think I’ve touched on emotion in every work I’ve done, but this one comes from a more psychological place. It uses the Japanese philosophy of Kintsugi: when something breaks apart it’s not discarded, it’s put back together highlighting the scars to make it unique and beautiful. The longer I live, the longer I understand what that complexity of imperfection is – it’s part of our human journey. The lesson is to not fear our flaws, but to embrace them and even appreciate them, bring their beauty forward. It’s something I believe everyone can relate to in some way.
I really do love the influence the Japanese culture has had on my work. It has added a rich perspective to my life having been exposed to so much by my husband [Kanji Segawa] as we’re coming up on 25 years together! I hope this ballet stirs interest within the PNW community, and particularly brings something special to the Japanese community who are rooted in this area of the world.
Jessica Lang’s residency, like all of the new work at PNB, is only possible through generous donations from individuals and foundations. Gifts to the New Works Initiative cover costs for choreographers, lighting, costume and scenic designers, music, and other related expenses. Help support this important part of PNB’s artistic vision with a donation today!
