P a c i f i c N o r t h w e s t B a l l e tPeter Boal, artistic Director

Louise Nadeau

Louise Nadeau & Peter Boal rehearsing Duo Concertant ( 2005). Photo © Jerry Davis. Cover: Louise Nadeau in Paul Gibson’s The Piano Dance (2005). Photo © Angela Sterling.

Louise not only helped me to learn the ins and outs of partnering, but she became a great friend. Her intelligence and wit were as sharp then as they are now. We hung out together every afternoon and combed New York City at night. Our lives were really centered in the studios of the School of American Ballet, though. What I remember most about Louise was her effortless dancing. She was that rare unaffected dancer, not pushing for approval, but allowing dance and music to happen gracefully. She was not the first dancer that you noticed when you entered the studio, and yet she was the one who left the lasting impression. I thought it was odd that she was passed over for hire by New York City Ballet, but the times were also strange with Balanchine having just died and several very talented students clamoring for a few apprenticeships. Employment came in Switzerland for Louise. I don’t know much about that chapter except that Louise wrote to friends explaining she had been parachuting, which was forbidden in her Basel Ballet contract, and she missed the softer landing site, choosing instead a parking lot and a badly sprained ankle. I visited her in Kansas City, where she was an adored star of Kansas City Ballet for several years. Louise wanted the opportunities offered by a larger company. In 1989, she came to New York to guest with me. While in New York, she heard about an audition for Pacific Northwest Ballet.

The rest you know. I was saddened to miss these prime years of Louise’s career and thought I wouldn’t see her dance again until chance dropped me in a front row seat for what I can only imagine are the best years of her career.

I could really go on and on about these years, but I know Louise’s dancing is more eloquent than my prose. I will say that I saw Merry Widow twice. The first time, it seemed dismissible. The story didn’t make sense. Then I saw Louise, and the plot was freshened; the humor not only evident, but downright funny. In the capable hands of a storyteller, the ballet came to life. Jerome Robbins’ The Concert left me crying from laughter when Louise performed it in Vail last summer. She explained that crazy-ballerina comes easily to her. The more abstract La Valse and In the Night benefited from the same gift of experience, and Swan Lake seemed made for Louise. I will not forget her simmering Agon pas de deux, filled with contrasting tensions and silky ease. I really could go on and on.

Certain dancers live on stage in the moment in front of an audience: Nureyev was one, Louise is another. Even in rehearsal, she is reserved, well aware of the element of spontaneity that can’t be realized in a studio. On stage, she finds her gift and we find ours. Louise, we thank you for bringing the art form to its greatest height.

We will remember with fondness the ballerina, but it is the person, the friend, the photographer, the coach, the teacher, and the artist that we won’t bid farewell to. Instead, we look forward to the future, whatever path you may choose. Thanks for the memories and thanks for asking me to dance.

So by now you’ve all heard the story of the skinny armed, short boy that no girl would go near in partnering class. Then a sympathetic girl named Louise asked the skinny armed boy if he would dance with her. The boy realized that he would never forget this girl and her generosity. He hasn’t.

Photo © Kurt Smith.

When Louise came to PNB, she was already an accomplished dancer and actress with a stellar resume to her credit. There was nothing we wanted to change; it was simply our job to give her opportunities for artistic growth. Over the fifteen years we worked together, Louise demonstrated her versatility in roles as varied as any great ballerina has ever performed. Each of her fans will have his/her own list, but holding special places in our memories are: the most poignant, heart-rending Juliet in The Tragedy of Romeo and Juliet; a radiant Odette and bewitching Odile in Swan Lake; the glamorously sophisticated Merry Widow; the essence of urban loneliness in the Hoffmann House scene in Silver Lining; a stunningly “cool” dancing machine in In the middle, somewhat elevated…; the ballerina of endless, gorgeous line in Voluntaries; and, of course, brilliant leading roles in A Midsummer Night’s Dream, La Valse, Brahms-Schoenberg Quartet, Rubies, Apollo, and a host of other Balanchine ballets. We could name hundreds more by countless choreographers, all of whom wanted to work with Louise.

One of Louise’s many valuable attributes is her gift for partnership. Since it is obvious that this quintessential ballerina of the exquisite physique is as light as a feather, it is not difficult to imagine that all the men in the Company love to partner her. But there is more than one reason for this. Louise develops a rapport with each partner that brings out the best in both of them. They are in real communication when they are onstage together. And we have noticed that she has a similar rapport with her audience. For Louise, you, her audience, are part of the performance. This is true for many performers, but she has a very special gift for making sure that you feel it.

When a dancer of Louise’s stature announces her decision to retire, the first question is: “Who can replace her?” And the answer is: “No one.” There is no other dancer like Louise and there never can be one who combines quite her physical beauty, technique, and dramatic gifts. But there are many, many young dancers who have been profoundly influenced by observing her over the years. A close study of Ms. Nadeau in the ballets named above would be the equivalent of a higher education in contemporary classical ballet.

We have spent hundreds and hundreds of hours in the studio with Louise. It was productive, fulfilling work, but what we will always remember most vividly is the transformation that happens every time Louise steps onstage. Of course, it is the product of rigorous preparation, both physical and intellectual, but there is also a true magic that takes place at that moment. She, more than any other dancer we know, becomes a different person. Technical difficulties disappear, and she embodies in an instant the character she is portraying. Her instincts for conveying choreographic, musical, and dramatic intention simply and clearly to her audience are unerring, and she uses her art form as her perfect instrument. No, none of us can ever forget what it has been like to work with and watch Louise. Her performances will always be with us, with her legions of devoted fans, and with the young dancers who aspire to be like her one day.

Great dancers’ techniques often demonstrate attributes that are strikingly similar to their characters. Louise Nadeau is a wonderful example of this phenomenon: her beautiful, almost bird-like, classical line shapes a vivid, athletic strength, just as her quietly feminine demeanor masks a brilliant mind and iron determination.

Louise Nadeau & daughter Emma (2000). Photo © Roger Miller.

Dear friends,Despite the best laid plans, it is impossible to chart the course life has in store for us. We all begin in a similar fashion—a blank canvas inviting hopes and dreams to paint our future—but few of us are fortunate enough to get to fulfill those childish aspirations. I am profoundly thankful to be one who did. I grew up to be a ballerina.

Many people had a hand in making me the artist I am today. First and foremost is my family. Dedication and hard work are expected in an aspiring dancer, but it is the commitment my parents made to support my dream that helped make it a reality. Somehow they found the courage to let me move to New York City at fifteen on my own. I can only imagine the sleepless nights they endured. But their love and trust sustained me, and in turn gave me courage and determination to stretch my wings and dare to fly.

I have collected many pearls of wisdom over the years from people I have encountered on this wonderful journey: teachers, bosses, colleagues, and friends. Each has graciously opened his mind and heart to me, imparting words of wisdom and insight. I am truly grateful for their gifts. It has been a privilege to work at PNB these past nineteen years with consummate artists and professionals who have never ceased to amaze, inspire, and humble me. I have been taught, mentored, befriended, costumed, fixed when I was broken, and supported in a way that has allowed me to hone my craft and focus on the aspect of dancing that matters most to me: you, the audience.

My greatest joy has been performing for you. The emotional connection we share across those footlights is unquestionably transformative for me. I have been able to dance on stage for you in ways I never thought possible in the studio. It takes a leap of faith to bare one’s soul to three thousand people, but the pleasure you have given me in return is immeasurable. I will carry memories of our performances together in my heart forever. Thank you for sharing your lives with me these many years and so passionately embracing my work. You helped make me the ballerina you see before you. We have had a magical partnership that I will always cherish.

With love,

Louise

Louise Nadeau & Charles Newton in Serenade (1998), choreography by George Balanchine © The George Balanchine Trust. Photo © David Cooper.

SE R E N A D EMusic: Peter Ilyich Tchaikovsky

Choreography: George Balanchine © The George Balanchine Trust

Staging: Francia Russell

Costume Design: Karinska

Lighting Design: Randall G. Chiarelli

Ms. Nadeau’s debut as the Waltz Girl iN Serenade: OctOber 5, 1993

Serenade is one of those special rites of passage ballets for dancers. There is a moment when the curtain rises and the cool air from the audience rushes over us. You can feel it on your face and arms. Sometimes a skirt stirs. And then, there is always the audible gasp from the audience at the sheer beauty of seventeen tulle-clad ballerinas bathed in blue light. There is something almost spiritual about the opening of Serenade. The solemnity and classroom simplicity of the steps signify the journey each of us has taken to reach that exact moment. It is a shared experience, a sisterhood. I love that Serenade is pure dance. There is no star, no real story, just ever-shifting patterns and suggestions of romance and longing. I remember as a teenager I toured to Paris with the Basel Ballet. A trip to the Louvre brought me face to face with the statue of Psyche and Cupid. I instantly recognized my favorite image from the Elegy in Serenade as the Dark Angel hovers behind the reclining Waltz girl and her partner. I was so excited to see the actual inspiration behind one of the most beautiful moments in ballet. – L.N.

Louise Nadeau & Oliver Wevers in La Valse (2000) choreography by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling.

Music: Maurice Ravel Choreography: George Balanchine © The George Balanchine Trust Staging: Francia Russell Costume Design: Karinska Lighting Design: Randall G. Chiarelli

Ms. Nadeau’s debut as the Girl iN White iN La VaLSe: February 2, 1993

La Valse was one of the most satisfying pieces I danced in my career. Francia and I talked at great length about the Girl in White and continued to revisit her enigmatic makeup every time we revived the ballet. It was interesting to dance such a theatrical ballet but not need to act. All the necessary elements were present: Ravel’s dark, foreboding music, Karinska’s costumes, and Balanchine’s steps and vision. I only had to respond. I came to think of the Girl in White as a debutante, exuding innocence but possessing a level of sophistication. I love the highly stylized arms and gestures in the “conversation” with the suitor in the pas de deux. She embodies decadence but also restlessness that hints at trouble to come.

The one love/hate moment for me in La Valse was plunging my hands into the black gloves Death presents me with. It is a dramatically perfect moment fraught with anxiety over getting the fingers in the right slots! And once you made the plunge you were stuck with whatever you got. There was no opportunity for readjustment. I can’t tell you how many times I did that final waltz with Death with errant glove digits flapping in the breeze! I joked with the Costume Shop that maybe they should make me Death mittens instead. – L.N.

L A VA L SE

Louise Nadeau in Emeralds (2006), choreography by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling.

E m E R A L DSMusic: Gabriel Fauré Choreography: George Balanchine © The George Balanchine Trust Staging: Elyse Borne Costume Design: Karinska Lighting Design: Mark Stanley

Ms. Nadeau’s debut iN the ViOlette Verdy rOle iN emeraLdS: JuNe 1, 2006

Emeralds will always hold a special place in my heart because it gave me the opportunity to work with the incomparable Violette Verdy. I had briefly worked with Violette nearly twenty-three years earlier at Kansas City Ballet. I was a young pup then, working on my first Swan Lake and she coached me. Throughout my career, I have been fortunate to dance roles that were closely associated with Violette, such as Tchaikovsky Pas de Deux and Divert pas from A Midsummer Night’s Dream. Her lyricism and dynamic personality are evident in every role she touched and always gave me an example to aspire to. She came to Seattle this past January to coach the principals in Emeralds. I never wanted those rehearsals to end. Since the role was created on her, she was able to impart words of wisdom that helped each of us shape our own interpretation. She shared with us some footage of her performances. The sense of freedom and sheer abandonment that she danced with was so inspiring. She shared anecdotes and offered insights to particular phrases. She was witty, charming, gracious, and so generous. – L.N.

Louise Nadeau in Adieu. Photo © Angela Sterling.

Music: Christoph Willibald Gluck Choreography: George Balanchine © The George Balanchine Trust Staging: Francia Russell Scenic Design: Joel Fontaine Costume Design: Karinska Lighting Design: Randall G. Chiarelli

Ms. Nadeau’s debut as the lead iN ChaConne: april 1, 1993

The opening pas de deux in Chaconne is beautiful, pure, and simple. I’ve never searched for overt symbolism in the dance, but the fact that the music is from Orpheus and Eurydice does cast a certain soulful romanticism over the piece. A current of searching and longing runs through it. But, ultimately, I find it to be a simple meditation on beauty—a joy to behold and a joy to dance. – L.N.

Music: Leonard Bernstein Choreography: Jerome Robbins with Peter Genarro Lyrics: Stephen Sondheim Staging: Elyse Borne and Jean-Pierre Frohlich Vocal Coaching: Joan Barber Scenic Design: Oliver Smith Costume Design: Irene Sharaff Lighting Design: Jennifer Tipton

Ms. Nadeau Makes her debut as aNita iN WeSt Side Story Suite iN this eVeNiNG’s perFOrMaNce.

This is definitely the anomaly of the evening and deserves explanation. Growing up, West Side Story was one of my favorite movies. The perfect marriage of music, lyrics, and choreography just blew me away (I still cry at the end). Fast forward to last summer. A notice goes up on the rehearsal board that all the women in PNB are required to audition for the singing roles in the upcoming production of West Side Story Suite. All women? Really? My first reaction was sheer panic. Forty years of “Happy Birthday” was about the extent of my public singing! But here is a positive thing about being older…perspective. Life has already thrown more humiliating scenarios my way than singing! So I gathered my courage and offered up my best belt. This is where I am supposed to say, “And the rest is history…” except I sprained my ankle a week before we opened and never got to perform it. I was very disappointed. In keeping with the “Encores” spirit of including some ballets from this past season on this last program, Peter suggested we add “America” to the list. So here goes. After all, how often does a redhead with freckles get to be Anita? – L.N.

The 2009 PNB premiere of Jerome Robbins’ West Side Story Suite was generously underwritten by Marcella McCaffray, Lyndall Boal, Carl & Renee Behnke, and Aya Stark Hamilton.

Ch ACo N N E

W E St Si D E Sto Ry Su i t E

Music: Igor Stravinsky Choreography: George Balanchine © The George Balanchine Trust Staging: Elyse Borne Costume Design: Karinska Lighting Design: Mark Stanley

Ms. Nadeau’s debut as the lead iN rubieS: NOVeMber 14, 1991

Rubies was one of the first ballets I learned when I came to PNB. I think I was somewhere around fifth cast and was given one show and was ecstatic! Over the years, I performed it a lot more, most often with Paul Gibson. I loved dancing Rubies with Paul. The steps were challenging, rhythmically complex, but jazzy, and Paul was not only a consummate

partner but also willing to playfully spar with me on stage. His willingness to meet my gaze head-on made for a great partnership. The costume for Rubies was wonderful. I loved the noise the big jewels made as they clacked together every time I shimmied my hips, which being Rubies, was often! The only downside was getting into it! I affectionately referred to it as “the sausage suit.” The amount of hipping and hopping required to get into it always had me sweating before any of the dancing had even begun! And it was equally challenging to get it off. On more than one occasion, I nearly broke my dresser’s nose trying to wiggle out. – L.N.

Music: Gustav Mahler Choreography: William Forsythe Staging: Otto Neubert Costume and Lighting Design: William Forsythe

Ms. Nadeau Makes her debut iN urLiCht iN this eVeNiNG’s perFOrMaNce.

Artifact II was the first ballet I danced by William Forsythe. I was immediately a huge fan. Here a choreographer had taken the ballet vernacular and turned it on its head. I had never before pushed my body in such a way. Everything was extreme and shocking—the lighting, the volume of the music, the steps, and the attack required to do them. He demanded total commitment and fearlessness as well as a talent for improvisation. Glen Tuggle, the stager, pushed us beyond what we thought was humanly possible. And in doing so, each day it got a little bit better. It was an enormously rewarding and exhausting experience.

Otto Neubert, one of our ballet masters, came to me earlier this year asking me if I’d ever seen Billy’s pas de deux, Urlicht. I had to confess I hadn’t. It is one of his earliest works. Otto had recently viewed it and thought it would be a wonderful piece for me. He also knew of my impending retirement and the rapidly closing window of opportunity! Through a series of emails between them, Billy graciously offered to let me dance this exquisite pas de deux at my final performance. For those of you new to this work, you are in for a treat. For me, getting to perform this gem before I retire, I am deeply touched and honored. – L.N.

Ru b i E S

u R L i Ch tp n b p r e m i e r e

Louise Nadeau in La Sonnambula, choreography by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling.

Music: Vittorio Rieti Choreography: George Balanchine © The George Balanchine Trust Staging: Peter Boal with Richard Tanner Scenic and Lighting Design: Randall G. Chiarelli Costume Design: Christine Joly after original design by Karinska

Ms. Nadeau’s debut as the sleepWalker iN La SonnambuLa: septeMber 16, 2006 (pas de deux); March 16, 2007 (cOMplete ballet)

My first experience with La Sonnambula was with Kansas City Ballet. I danced the role of the Coquette. I was excited to learn the Sleepwalker when PNB added the ballet to the repertoire. It looked fairly simple and fun. The three biggest surprises were how much my toes hurt, how difficult it was to tell a story without facial expressions, and how hard it was not to blink! Oh, and there was that small feat of gracefully carrying your dead poet off stage in your arms. I had a lot of jokes with Le Yin about his diet during that ballet! You’d think I would have learned by now that when a ballet appears to be easy it’s usually not! Still, I loved dancing this role. The pas de deux with the poet is tender, romantic, and even sweetly comedic. I love the subtle game of cat and mouse between the two that keeps you wondering if she is truly asleep, or maybe playing with him. The poignancy of their pas de deux makes his death in the end all the more haunting and tragic. – L.N.

The 2007 PNB premiere of La Sonnambula was generously underwritten in part by PNB Advisory Board of Trustees.

L A So N N A m b u L A

Louise Nadeau & Karel Cruz in In the Night. (2008). Photo © Angela Sterling.

Music: Frederic Chopin Choreography: Jerome Robbins Staging: Christine Redpath Costume Design: Anthony Dowell Costume Design Supervisor: Holly Hynes Lighting Design: Jennifer Tipton Lighting Re-creation: Scott Zielinski

Ms. Nadeau’s debut iN the third pas de deux OF in the night: septeMber 22, 2005

Peter introduced me to the world of Jerome Robbins. I had seen New York City Ballet perform his works when I was a student at the School of American Ballet, but I never had the good fortune to dance in any of them. In the Night was my first Robbins ballet, and I was cast to do the third pas de deux. Each of the three couples is presented in a different stage of love and this couple is definitely the most volatile. The woman is tempestuous and high-strung and they are obviously arguing. But there is a familiarity to this quarrel that suggests this is not new behavior for them. I love that the characters in a Robbins ballet are real people—no princes, swans, or fairies here. It was a formidable challenge to make this woman real and not turn her into a caricature. The choreography perfectly reflects the push and pull between them, the rollercoaster that is their relationship. Christophe and I used to jokingly hiss at each other in the wings before we went on, “I love you! I hate you!” Still, you can’t help but cheer them on when they finally reach their reconciliation at the end of the pas de deux. In an act of contrition, the woman kneels down in front of the man, humbly offering him her hands. The tenderness with which he scoops her off the floor and passionately cradles her off the stage suggests that all has been forgiven and forgotten for another day. – L.N.

i N t h E N i g h t

Louise Nadeau & Olivier Wevers in A Midsummer Night’s Dream, choreography by George Balanchine © The George Balanchine Trust. Photo © Angela Sterling.

Music: Felix Mendelssohn

Choreography: George Balanchine © The George Balanchine Trust

Staging: Francia Russell

Scenic and Costume Design: Martin Pakledinaz

Lighting Design: Randall G. Chiarelli

Ms. Nadeau’s debut iN the diVertisseMeNt pas de deux OF a midSummer night’S dream: auGust 21, 1998

Pacific Northwest Ballet’s production of George Balanchine’s A Midsummer Night’s Dream was filmed by the BBC in February 1999 at Sadler’s Wells Theatre, London, with Louise Nadeau and Olivier Wevers performing the Divertissement pas de deux in Act II. Stewart Kershaw conducted the BBC Concert Orchestra.

Midsummer has to be one of my favorite Balanchine ballets. I have had the pleasure of dancing Titania, Hermia, and the Divertissment pas de deux. The Divert pas appears in the second act during the wedding scene. It’s very different to dance that role than to dance one of the story related characters. You don’t appear until almost the end of the evening and you don’t further the story in any way. But beyond being a beautiful interlude, the pas de deux does serve to demonstrate romantic love in its most perfect form —a breath of fresh air after love’s confusion and chaos in the first act. The man’s partnering is both elegant and gallant. There is an almost heart-breaking tenderness between them. The overall feel of the pas de deux is that of a romantic lullaby.

In 1997, the Balanchine Trust approved a total production re-design for A Midsummer Night’s Dream. The new sets and costumes, designed by Martin Pakledinaz, were gorgeous and everyone wanted to see them. Midsummer packed its bags and travelled the world. I enjoyed performances in Edinburgh, Istanbul, Hong Kong, and in London, where it was filmed by the BBC in the “almost finished,” newly renovated Sadler’s Wells Theatre. That was an adventure unto itself! But despite numerous complications, including a flu that swept through the Company, the end result was marvelous. The film beautifully captures Francia’s meticulous staging and coaching, the gorgeous new sets and costumes, and PNB’s dancers at their peak. – L.N.

A m i D Su m m E R N i g h t ’S D R E A m

Louise Nadeau in Kent Stowell’s Swan Lake. Photo © Ben Kerns.

Music: Peter Ilyich Tchaikovsky

Choreography: Kent Stowell

Staging: Francia Russell after Marius Petipa and Lev Ivanov

Scenic Design: Ming Cho Lee

Costume Design: Paul Tazewell

Lighting Design: Randall G. Chiarelli

Ms. Nadeau’s debut as Odette/Odile iN keNt stOWell’s SWan Lake: auGust 22, 1992 (act ii); OctOber 24, 1992 (black sWaN pas de deux); May 29, 1996 (cOMplete ballet)

No one can tell a story like Kent. His story ballets are immensely satisfying to dance because he understands the emotional landscape of the characters so well and is able to translate that to his dancers and the audience. He is an unabashed romantic at heart but is also unafraid to show the sometimes tragic consequences that love can hold. His Act IV portrayal of Siegfried and Odette’s final meeting is Kent at his masterful, storytelling best. Siegfried rushes from the ball, after being tricked by the duplicitous Odile, to find Odette and seek forgiveness for his actions. His grave misjudgment in swearing eternal love to Odile has forever doomed Odette and her swan maidens to the power of Rothbart. The ensuing final pas de deux between Siegfried and Odette portrays perfectly the myriad emotions they must be feeling—sadness, betrayal, longing, love, and resignation. Siegfried’s vow cannot be undone and both must sadly suffer the consequences. As dawn approaches, Odette realizes the time has come for her to resume her swan form. She lowers Siegfried’s head as she backs away but can’t help steal one last gaze upon him before her final transformation. It has to be the most heart-breaking moment in all of ballet. There is rarely a dry eye in the audience (or in the wings!) at this point. I have seen many Swan Lakes in my lifetime, but none have had the dramatic clarity and impact that Kent’s does. I am so grateful to have danced this magnificent ballet with PNB and to be able to share it with you one last time tonight. – L.N.

Louise, Thank you… For sharing your talent and passion. For the enlightening Friday performance of Lento; I will always cherish the memory of dancing that with you. For all the times that we have laughed at ourselves in rehearsals. For your patience, trust, and sense of humor.

How many versions of Nutcracker have we danced? How many times did we think that we couldn’t do something? Well…you were always pretty good at it!

You have inspired me and touched me. I will miss you. A big admirer of yours,

Olivier

Louise, What a pleasure it has been to share the stage with you. From Rubies to Aract and Chaconne to Artifact, plus the how many shows of Nutcracker here in Seattle and our second home in Montana, it has always been a thrill and an artistic joy. Watching your interpretations of ballets: that never-ending arabesque, or the subtle glance or movement of your head that—to some—may be small, but for many have put you in a league of your own. These are things that can’t be taught, but they are the traits of a great artist. You will be deeply missed by me as well as anyone who has seen you take and command that stage.

All my love,

Paul

“Louise Nadeau is one of the most compelling doomed heroines seen in La Valse…” – Anna Kisselgoff, The New York Times

For Louise: The first time I walked into the studio, I noticed her: fragile, with amazing extension and a delicate presence. A year later I worked with Louise; this was the beginning of our partnership. I have fond memories of every minute—working, laughing, and crying. We shared more than a friendship, we were PARTNERS. I remember Swan Lake, Hail to the Conquering Hero, Symphony in C, Brahms-Schoenberg Quartet, and many more because Louise made these ballets unforgettable. Her virtuosity, artistry, and passion for every minute moved me. I know that she will stay in the memories of PNB audiences, and all of her partners will always remember the chance they had to dance and share moments with her on stage.

You made my last performance on stage special, Louise. I wish I could be there for you today, but my thoughts are with you. All my love and best wishes for your future,

Christophe

“Nadeau knows, perhaps better than any other PNB dancer, how to create a character onstage, and her Odette moved as if wrapped in a cloak of tragedy. Her perfectly placed arabesques and whispery bourrees had an almost eerie precision; her arms, at times held high as if to ward off some fearful presence, bent at unexpected angles, like broken wings. By contrast, her Odile sparkled like ebony; all sureness and malicious glee, her pointed toes extended like weapons. The difference between the two characters was striking—if you sat in the back, you might have thought it was two different dancers—a marvelous showcase for Nadeau’s charisma and skill. …her remarkable gifts of dramatic presence and musicality draw all eyes to her.” – Moira MacDonald, The Seattle Times

The George Balanchine Trust salutes the glorious career of Louise Nadeau. Her musicality, her elegant presence, and her enlightening performances have made her one of the most unique and special Balanchine ballerinas. While we are sad to see her leave the stage, we are grateful for her long and accomplished career which has brought us such breathtaking moments. – Ellen Sorrin, Director, The George Balanchine Trust

“Louise Nadeau has long been praised for her musicality, her ability to link music with movement. Little wonder she is such a beloved dancer of the ballets of George Balanchine. But she is many other things as well, which makes her such a beguiling presence on stage. She can transform herself into whatever the choreography demands—something soft and pliable or fierce and determined, comic or tragic. It is a dynamic range that is in a constant state of expansion and exploration, which is among the reasons Louise has been such a vital force in making Pacific Northwest Ballet the company it is today.” – R.M. Campbell, gatheringnote.com

“A big cheer for Pacific Northwest Ballet…their second London season is pure entertainment. …The dancers are good to look at too, most of all perhaps Louise Nadeau.” – John Percival, The Independent

I first saw Louise dance in Balanchine’s Agon. Even in the opening ensemble parts she stood out because she is just so beautiful physically. As the ballet progressed and she did more of the featured sections, it became abundantly clear that she possessed WAY more than mere physical beauty. She had a formidable technique and an amazing style as well. When I subsequently joined the Company and had the privilege of working with her, I then was treated to her intelligence, passion, and humor. Not that I was surprised she had these qualities. I think anyone who has seen her dance knows about these characteristics. – Manard Stewart

Louise Nadeau! My Liberty Belle. You are the last of a remarkable generation of dancers. From “Whip-Poor-Will” to Sleeping Beauty, only with you could one go as far as to have voices to go along with our roles. I feel privileged to have had the opportunity to share the stage with you over the last fifteen years and congratulate you on a career that many only dream of. You did it, Louise! I wish you the very best on your road ahead, and I know you will bring the same integrity and beauty to all your endeavors as you have shown in your ballet career.

Much love,

Jeff , your El Capitan

T R I B U T E S

DANCERS Principals Batkhurel Bold, Carrie Imler, Carla Körbes, Ariana Lallone, Stanko Milov, Louise Nadeau, Kaori Nakamura, Jonathan Porretta, Lucien Postlewaite, Jeffrey Stanton, Mara Vinson, Miranda Weese, Olivier Wevers

Soloists Maria Chapman, Karel Cruz, Chalnessa Eames, Rachel Foster, Benjamin Griffiths, James Moore, Seth Orza, Lesley Rausch, Jodie Thomas

Corps de Ballet Jessika Anspach, Kari Brunson, Lindsi Dec, Leanne Duge, Kiyon Gaines, Laura Gilbreath, Eric Hipolito Jr., Barry Kerollis, Kylee Kitchens, William Lin-Yee, Stacy Lowenberg, Leah O’Connor, Sarah Ricard Orza, Jordan Pacitti, Anton Pankevitch, Brittany Reid, Abby Relic, Liora Reshef, Carli Samuelson, Sokvannara Sar, Josh Spell, Claire Stallman, Jerome Tisserand

Apprentices Andrew Bartee, Amanda Clark, Kyle Davis, Emma Love, Margaret Mullin, Sean Rollofson

ORCHESTRA Violin 1 John Pilskog, Acting Concertmaster Lynn Bartlett-Johnson Natasha Bazhanov Stephen Daniels Tom Dziekonski Ella Marie Gray Rebecca Lowe Christina Olason Marcia Ott

Violin 2 Ingrid Frederickson, Principal Bryan Boughten, Assistant Principal William Boyd Anne Cady Adrianna Hulscher Philip Nation Laurel Wells Kim Zabelle

Viola Scott Ligocki, Principal Betty Agent, Assistant Principal Timothy Christie Joyce Ramée Ruth Sereque Eileen Swanson

Cello Page Smith, Principal Virginia Dziekonski, Assistant Principal Meg Brennand Andrea Chandler Charles Jacot Brian Wharton

Bass Todd Larsen, Principal Stephen Schermer, Assistant Principal Maurice Clubb Ben Musa

Flute Karla Flygare, Principal Rae Terpenning

Piccolo Rae Terpenning

Oboe Ove Hanson, Principal Tad Margelli

English Horn Tad Margelli

Peter Boal, Artistic Director

Kent Stowell & Francia Russell, Founding Artistic Directors P a c I f I c N o R T h w E S T B a l l E T

Clarinet Jennifer Nelson, Principal Denise Lum

Bass Clarinet Denise Lum

Bassoon Mona Butler, Principal Penny Lorenz

Horn Rodger Burnett, Principal Danielle Lemieux Richard Reed Ryan Stewart

Trumpet George Oram, Principal Richard Werner

Trombone Mark Williams, Principal Kay Nichols

Bass Trombone Douglas Nierman

Tuba Ryan Schultz

Tympani Phillip Hanson

Percussion Matthew Kocmieroski, Principal Gunnar Folsom

Harp John Carrington

Keyboard Dianne Chilgren Allan Dameron

Personnel Manager Rodger Burnett

Librarian Mona Butler

STAFF Artistic Staff Peter Boal, Artistic Director Otto Neubert, Ballet Master Anne Dabrowski, Ballet Master Paul Gibson, Ballet Master Doug Fullington, Assistant to the Artistic Director Stewart Kershaw, Music Director/Conductor Allan Dameron, Conductor/Pianist Rodger Burnett, Orchestra Personnel Manager Dianne Chilgren, Christina Siemens, Pianists Stephen Barnes, Yelena Golets, Katja Rubin, Don Vollema, Class Pianists Birgit Hansen, Librarian / Archivist Sheila Dietrich, Archivist Di Anna Kurriger, Parent Volunteer Coordinator

Production Randall G. Chiarelli, Lighting Designer & Technical Director Jill Hanson, Production Stage Manager Sandra Barrack, Stage Manager Murray Johnson, Master Carpenter Dante Leonardi, Master Electrician Jeffrey Stebbins, Master of Properties Alan Hiskey, Flyman Howard Neslen, Tim Casey, Assistant Carpenters Jonathan Hackett, Chris Balducci, Assistant Electricians Kevin Krist, Jay Gosselin, Properties Assistants Jan Harvey Smith, Sarah Middleton, Chief Scenic Artists Gary Hess, Lighting Technician Toby Basiliko, Sound Jim Austin, John Morgan, Follow Spots Jack Taylor, Videographer

Costume Shop Larae Theige Hascall, Costume Shop Manager Sherri J. Thompson, Wardrobe Mistress Barbara Pritchard, Assistant Wardrobe Mistress Robin Emerson, Costume Shop Assistant Victoria McFall, Mark Zappone, Janet Lind, Drapers Lisa Peterson, Pauline Smith, First Hands Patrick Stovall, Wardrobe Assistant JoAnne Bailey, Terry Frank, Luna Pham, Marilyn Robinson, Megan Giese Costume Technicians Jennifer Stone, Millinery/Crafts Wendy Oberlin, Dyer/Painter

Executive Office D. David Brown, Executive Director Dawn M. Green, SPHR , Director of Human Resources Caitlin DiMotta, Executive Assistant/Board Relations Liaison

Finance Debbi Lewang, Chief Financial Officer Dennis Pierce, Finance Manager Kaleriya Maslyak, Accounting/Payroll Associate

Information Technology Jim Mitchell, IT Manager Craig Big Eagle, IT Consultant Doug Jones, SQL Report Writer Operations

Operations Serni Reeves, Office Manager Brian Zenk, Maintenance Supervisor Cheryl Gunder, Receptionist Theresa Mosteller, Saturday Receptionist

Company Management & Touring Jennifer Steiner, Company Manager

Development Lilah Ostmann, Interim Director of Development Katie Johnson, Individual Giving Manager Tara Carr, Annual Fund Manager Jill Robinson, Nikki Morton, Corporate Relations Managers Serenity Dillaway, Foundation &Government Relations Manager Lauren Stanfield, Special Events Manager Liza Turner, Special Events Coordinator Allyse Goehring, Development Programs Coordinator Yelena Brandman, Donor Information Coordinator

Marketing and Communications Ellen Walker, Director Lia Chiarelli, Associate Director Gary Tucker, Media Relations Manager Marsha Bennion, Publications Manager Freja Cranston, Merchandise & Volunteer Coordinator Doug Fullington, Education Programs Manager Kayti Bouljon, Outreach Manager Shannon Barnes, Community Programs Coordinator Laura Fisher, Webmaster Kris Wittenberger, Digital Media Specialist Nathan Saunders, Data Coordinator Judith May Austin, Marketing & Media Relations Assistant Rochelle Rapaszky, Outreach Assistant Jennifer Maier, Senior Manager of Ticket Operations John Tangeman, Manager of Audience Services Joanna Hardie, Customer Service Manager Megan Boucher, Rebekah Krupke, Jason Petrait, Customer Service Representatives Julie Jamieson, Group Sales Elizabeth Suckow, Telesales Campaign Manager

Pacific Northwest Ballet School Peter Boal, Director Denise Bolstad, Administrative Director Abbie Siegel, School Principal Nicholas Ade, Eastside School Principal Carrie Rowe, School Supervisor Wendy Casper, Assistant to the Administrative Director Kerrie Thornton, Registrar Jennifer McLain, DanceChance Manager Suzanne Singla, Children’s Division Coordinator

David Jensen, Summer Residence Director Naomi Botkin, Assistant Registrar Andrea Bauer, Carrie Cullom, David Jensen, Barbara Nakatani, Brittany Schank, Administrative Assistants

Faculty Nicholas Ade, Marisa Albee, Elaine Bauer, Peter Boal, Sonia Dawkins, Sara de Luis, Lisa Dillinger, Dana Hanson, Dane Holman, Timothy Lynch, Meg Potter, Abbie Siegel, Marjorie Thompson, Bruce Wells, Ines Andrade, Patricia Barker, Kelly Boal, Kayti Bouljon, Jennifer Clark, Kirsten Cooper, Michele Curtis, Alexandra Dickson, Oleg Gorboulev, Susan Gorter, Carrie Imler, Dina McDermott, Jennifer McLain, Molly McNeill, Stanko Milov, Louise Nadeau, Anton Pankevitch, Victoria Pulkkinen, Rachel Närhi, Sarah Shira, Suzanne Singla, Melanie Skinner, Eva Stone, Julie Tobiason

Accompanists Irv Huck, Music Staff Supervisor Ray Allan, Dayton Allemann, Kofi Anang, Leanne Anderson, Stephen Barnes, Carol Buschmann, Sue Clifford, David Clodfelter, Tatyana Dadayeva, Yelena Golets, Marina Katsel, Marleen Land, Ryan Love, BethAnn McKelvey, Brad McRae, Bob Rees, Katja Rubin, Nancy Slanina, Danny Sullivan, Don Vollema, Anastasia Workmann

PNBConditioning Marjorie Thompson, PNBConditioning Program Director Andrea Bauer, PNBConditioning Coordinator Stacy Brenner, Alexandra Dickson, Carol Elsner, Adriana Hull, Gretchen Kruger, Stacy Lowenberg, Dina McDermott, Uraina Nagy, Kayoko Price, Tara Stepenberg, Jamien Cvjetnicanin, Teresa Cowan-Kuist, Suzanne Singla, Carole Phillips, PNBConditioning Staff

Therapy Steven Anderson, MD, Pierce E. Scranton Jr., MD, Consulting Physicians Boyd Bender, Physical Therapist Melanie Foust, Jennifer Shevitz, Joe Smelser, Massage Therapists Pro-Robics Conditioning Clubs, Official Fitness Club for PNB Dancers & Staff

Consulting Staff Toby Diamond, PhD, Psychologist Peggy Otto Swistak, MS, RD, CD, Nutritionist Alan S. Woodle, DPM, Podiatrist Henry Lu, PT, ATC , Physical Therapist Karen Clippinger, MSPE, Kinesiologist Doug Fullington, Dance Historian

Special Counsel Clifton L. Elliott, Davis Wright Tremaine, General Counsel Valerie Hughes, Perkins Coie, Employment Law Amy M. Royalty, MacDonald Hoague & Bayless, Immigration Law Moss Adams LLP, Auditors

The dancers of Pacific Northwest Ballet are members of AGMA—the American Guild of Musical Artists, AFL-CIO.The Pacific Northwest Ballet Orchestra is composed of musicians represented by the International Guild. Stage Crew work is performed by employees represented by I.A.T.S.E. local #15. Wardrobe attendants provided by members of Theatrical Wardrobe Union #887, I.A.T.S.E. Stage Draperies: I. Weiss, New York.

Louise Nadeau. Photo © Ben Kerns.