Says Boal, "She is naturally suited to Balanchine — she is supple and strong, and has such an incredible familiarity with the roles." Stanko Milov, a frequent partner, recalls: "Patricia was my first partner when I came to Seattle. Through the years, we've continued to grow in our partnering. Dancing with someone at
her level allows you to push the choreography further and really work on interpretation. I'm always impressed with the poignancy of her dancing, and her sustained physical health and technical performance. Who she is as a person is
what really comes across in performance. Everyone knows that in dance the steps are just the words — but you don't necessarily say anything. However, Patricia speaks volumes. She is inspirational."

Some of Barker's most memorable performances can be found in the pas de deux from Agon — a fascinating study of control, concentration and flexibility, which she's danced with Olivier Wevers, and in the pas de deux in Stowell's The
Tragedy of Romeo and Juliet danced with Jeffrey Stanton — both at their carefree best, relaxed even in the breathtaking lifts. Stanton says that most remarkable about Barker is her "technique and her generosity in spirit, especially with her partners - she makes the job so easy."

For someone so sure of each step, Barker has not quite come to terms with

Peter Boal brought a reputation for strong classicism, a penchant for contemporary ballet and a vision for an utterly diverse repertory, when he came to Seattle to head the Pacific Northwest Ballet in July 2005. Now, almost two years later, he's realizing that vision. This past season, the company performed more than 30 different ballets. What's more, the company
reported a fiscal surplus last year.

Diversity Defined
Pacific Northwest Ballet's Peter Boal is realizing his vision for the Seattle company.
By Gigi Berardi

To the credit of Boal and former co-artistic directors Kent Stowell and Francia Russell, the transition to Boal's new artistic directorship has been smooth. Boal is committed to continuing the mission of PaciÞc Northwest Ballet to attract talented dancers, choreographers, musicians and collaborative artists. That's not to say that there haven't been challenges with the job.

"I came into a company that was running beautifully and with so many strengths," says Boal. "It's a challenge because you want to have your own voice. In some ways, it would be easier to take on a sinking ship, but [my tenure here] is about continuing and building on the strengths of what was already great about the institution."

The company of 44 dancers is rich in diversity. "The influence of Pacific Northwest Ballet really extends beyond Seattle," says Boal. "One day, I sat down and counted how many different nationalities are represented in the company — we have 13, and there are fans from all over the world visiting our website. Each of the dancers has followings from his or her respective country — Japan, China, Mongolia, Bulgaria, Brazil, Belgium. We're soon to hire a Cambodian dancer and another French dancer, and the process continues." Boal says that the representation is even broader in the choreography that's presented. "We have Victor Quijada, originally from Mexico, and John Alleyne, who is originally from Barbados [both are now Canadians], and with our recent piece by Christopher

The company also has a long history of touring the world extensively, but Boal acknowledges some frustration in dealing with the fiscal realities of touring. "Now it's more difficult to do that," he says. "So we're exploring other possibilities for touring. Although we're taking the entire company to Vail, Colorado this summer to perform, we have smaller groups this year going to Jacob's Pillow in Becket, Massachusetts and to the Kennedy Center in Washington, D.C. This is not to say that we are a touring company, but we do hope to garner worldwide attention." On the road or at home, Boal is committed to developing each dancer's artistry. He believes, "We must build a bigger repertory. In the 2005-2006 season, we programmed 15 ballets; this year, it's 31, so

Boal himself began training at the School of American Ballet at age nine. He joined New York City Ballet as a member of the corps de ballet in 1983 and was promoted to soloist four years later. He was promoted to principal in 1989 and
retired from the company 16 years later, in 2005, when he assumed the artistic directorship of Pacific Northwest Ballet.

His television appearances include Dance in America and Live from Lincoln Center. Boal also has performed as a principal dancer with Ballet Arizona, the Ballet du Nord in France, the Metropolitan Opera, the Norwegian National Ballet, the Royal Birmingham Ballet, the Suzanne Farrell Ballet and the Wendy Perron Dance Company. He also danced with Molissa Fenley at the Joyce Theater in New York City. It was his solo performance in Fenley's State of Darkness for which he received a New York Dance and Performance (Bessie) Award. Boal also has toured extensively with his own group, Peter Boal and Company.

"The only thing I can say about my career is that it's been really incredible," says Boal. "If I had it to do all over again, maybe I'd dance more ballets by Nacho Duato! But, really, I couldn't have asked for more opportunities — dancing in Balanchine ballets and working for so many years with Jerome Robbins at City Ballet. This is what every dancer wants — more stimulation and more opportunity to display technique and emotion. I'm enjoying bolstering the careers of these dancers at Pacific Northwest Ballet now." Boal acknowledges that the many repertory choices he makes are really ballets he would have "loved to dance."