Photo by Angela Sterling
Pacific Northwest Ballet company dancers in the PNB premiere of William Forsythe’s “One Flat Thing, reproduced.”

Peter Boal has infused wonderful creative energy into Pacific Northwest Ballet since he assumed the position of artistic director two and a half years ago. He has introduced audiences to the works of a number of innovative choreographers who have helped to expand the company’s repertoire in new and welcomed ways.

Boal has made the ballet a hot ticket, giving viewers an array of exciting and stimulating performances that stretch the boundaries of the conventional notion of this dance genre.

“Director’s Choice,” the most recent program for the company, reinforces its trend towards a more contemporary identity, with works by choreographers Paul Gibson, Ulysses Dove, William Forsythe and Edwaard Liang.

Perhaps the most adventurous number of the repertoire is Forsythe’s “One Flat Thing, reproduced.” The company is no stranger to Forsythe’s often hard-edged, challenging works (“Artifact II” and “In the middle, somewhat elevated” have been in PNB’s repertoire for several years), but in this latest piece, the envelope is pushed to the extreme.

Fourteen dancers in colorful street clothes slam 20 tables onto the stage and arrange them in a rectangular form. To Dutch composer Thom Willems’ electronic, cacophonic music, they proceed to fling, swing, slide, twirl and whirl around the tables in a frenzied, chaotic manner.

It all appears like anarchy, yet there is a method to the madness.

Partnerships and trios are briefly formed and then abruptly dissolved. Some dancers wait in the shadowy background, while others take their turn within this intricate maze of constant motion. Many of their movements are feats of limberness that both astound and confound the audience.

Tables are used as vaults, as tunnels and as percussion instruments that dancers slap loudly, adding to the static noise and industrial-like rumblings of Willem’s composition. The energy level and commitment of the dancers are impressive and the intensity of their movements gives the piece a violent quality.

It shocks viewers’ senses and puts one at unease; yet, it is undeniably compelling and fascinating to watch.

Like Forsythe’s piece, Dove’s “Vespers,” also involves the use of props and is set to the unrelenting percussive banging of Mikel Rouse’s score.

Six women with 12 chairs enact a dance that is inspired by the choreographer’s memories of his grandmother and the chapel where she came together with other women to worship.

Dressed in simple black dresses, the dancers convey a strong sense of religious devotion as they use their bodies to implore and to express their loss and grief. Their movements are forceful, precise and dagger sharp. They slash the air, jump on the chairs and run from either side of the stage where the chairs are positioned.

Together they rigidly sit side by side and mimic each other’s motions, as they seemingly appeal to a higher power to help assuage their torment.

The talented ensemble of dancers, which includes Rachel Foster, Kaori Nakamura, Carrie Imler, Lindsi Dec, Noelani Pantastico and Jodie Thomas, attacks the piece with a fierce intensity and drama that is emotionally moving.

“Vespers” is an intriguing number that fully satisfies on all levels. The program also included Liang’s lovely pas de deux “Fur Alina,” performed by Miranda Weese and Batkhurel Bold and accompanied by Arvo Part’s delicate piano solo (played beautifully by Allan Dameron).

“Fur Alina” is a classical ballet piece that can be viewed as an intimate exchange between two dancers. The duo expresses the emotions of their relationship through their movements. They circle one another, entwine their bodies, caress and merge as one. Then they pull back, separate and run away to opposite sides of the stage. But, somehow they can’t help but return to one another, drawn in by the magnetic force of their desire.

Weese and Bold are artful, appealing performers who dance well together; however, Bold lacks the necessary expression to be emotionally convincing in this piece.

Weese, on the other hand, embodies her role to its fullest.

Opening the program was Paul Gibson’s “Sense of Doubt,” with music by Phillip Glass, which had its PNB premiere last April during the Celebrate Seattle Festival. There’s a sense of urgency to this number that is conveyed by its quick tempo, rapid fire spins, twirls and leaps.

Dancers coil and uncoil and repeat minimalist gestures throughout the piece. It’s moody and entrancing, with dancer Noelani Pantastico once again displaying her spectacular gifts in a memorable solo.

“Director’s Choice” is an invigorating repertoire of exciting dance that dares to go outside the box.

Up next for PNB is Balanchine’s “A Midsummer Night’s Dream,” opening April 3. For ticket information, call (206) 441-2424 or visit www.pnb.org.