Interview: Choreographer Jessica Lang on her triple bill at Pacific Northwest Ballet
To wrap up its 25-26 season, Pacific Northwest Ballet shines the spotlight on Resident Choreographer Jessica Lang, with a triple-bill showcasing her work.
The programme will also stream digitally from 11-15 June. (Digital access is available by subscription only)
Lang says:
Being a resident choreographer allows for a much deeper relationship with the dancers and the organisation as a whole. When I return for multiple projects, I’m not starting from zero each time — I’m building on a shared language, trust, and understanding. That continuity opens the door to more risk-taking and nuance. It becomes less about creating a work and more about contributing to an evolving artistic identity together.
The programme is highlighted by the Seattle premiere of ZigZag, Lang’s jazzy and joyous salute to the music and art of Tony Bennett. It will be paired with two works Lang created for PNB: the Georgia O’Keeffe-inspired Her Door to the Sky, and the “hauntingly moving” Ghost Variations.
Here’s Lang on each piece.
Her Door to the Sky (2016)
Her Door to the Sky was inspired by the world of Georgia O’Keeffe – not just her paintings, but her sense of space, solitude, and strength. I was moved by how she framed the natural world and her ability to find expansiveness within simplicity. The work became an exploration of perspective, both physical and emotional, and how we locate ourselves within vastness.
Ghost Variations (2020)
Creating Ghost Variations during the pandemic meant navigating strict limitations around proximity and space which is especially challenging in a form where physical touch is central. We worked in small pods of four with only five people allowed in a studio at once so much of the process required creative problem-solving like rehearsing from different studios on zoom, listening to the piano through open doors, and correcting from the balcony behind plexiglass.
Despite the distance, or perhaps because of it, the experience brought us closer. The cast and creative team formed a deep bond, united by a shared sense of purpose. At a time when the future of the performing arts felt uncertain, continuing to create felt both fragile and triumphant. We were starved for our craft—and for each other—and that urgency shaped the work in a profound way.
Ghost Variations is set to the music of Robert and Clara Schumann
The music of the Schumanns carries such emotional depth, especially when you consider their personal story. Their relationship was full of love, struggle, and devotion and shaped the emotional landscape of the ballet. Practically speaking, Robert’s Ghost Variations was too short on its own, so I looked for complementary music and turned to Clara’s work. Gradually, the idea emerged to intertwine their music, much like their lives. The final movement features one of Robert’s lieder transposed by Clara for piano, and it feels like the ultimate collaboration.
ZigZag (created for ABT, 2021)
Working with Tony Bennett, his family, and his team was an incredible gift. My relationship with him began in 2016 while I was preparing a work for my company. He was generous, kind, and deeply inspiring. I’ll never forget the first time he sat beside me in rehearsal and quietly whispered “beautiful” in response to a movement phrase – I remember thinking, this is really THE Tony Bennett!
He was so supportive of my work, and it felt especially meaningful to collaborate with him later in his life. When I met him, he was already experiencing Alzheimer’s disease, and over time I saw moments of recognition fade. But something remarkable would happen in the theatre – he would come alive. He knew who he was there, he understood what he was watching, and it brought him great joy.
There were times he wouldn’t recognise me when we greeted each other, but after watching the dance, something would spark, and he would connect me to the work. He always held my hand afterwards. Those moments were incredibly meaningful. I’m so grateful I could share the experience of seeing dance created to his music with Tony, his wife, Susan, and his family. It’s something I’ll always carry with me.
Tony Bennett was always about the team. Even as the artist in the spotlight, he made a point to honour his band, often stepping back during performances to let them shine. I carried that idea into ZigZag. In “It Don’t Mean a Thing,” Tony only sings the opening lines before giving space to the music, and I used that moment to highlight the corps de ballet giving these dancers their own time at centre stage.
Of the company, Lang says:
Pacific Northwest Ballet? Because it’s a place where artistry and integrity truly meet. The dancers are extraordinary, not just in their ability, but in their curiosity and commitment. There’s also a strong sense of community here, both within the company and with the audience. It’s a place that values creation, and that’s incredibly meaningful to me as an artist. And I am so grateful to feel like I belong.
Jessica Lang was talking to Peter Boal, Artistic Director of Pacific Northwest Ballet.
ALL LANG runs until 7 June 7 at Seattle Center’s Marion Oliver McCaw Hall.
Her Door to the Sky
Music: Benjamin Britten
Choreography: Jessica Lang
Scenic Design: Jessica Lang
Costume Design: Bradon McDonald
Lighting Design: Nicole Pearce
Premiere: August 24, 2016, PNB at Jacob’s Pillow Dance Festival Running time: 21 minutes
Ghost Variations
Music: Robert Schumann and Clara Schumann
Choreography: Jessica Lang
Costume Design: Jillian Lewis
Lighting Design: Reed Nakayama
Premiere: November 12, 2020 (PNB digital release) Running time: 18 minutes
ZigZag
Music: Tony Bennett Choreography: Jessica Lang
Creative Associate: Kanji Segawa
Scenic Design: Derek McLane, incorporating artwork by Tony Bennett
Costume Design: Wes Gordon for Carolina Herrera
Lighting Design: Nicole Pearce
Premiere: October 26, 2021, American Ballet Theatre Running time: 32 minutes
Further information on tickets and streaming.
Graham Spicer, aka ‘Gramilano’, is a writer, director and photographer based in Milan. He was a regular columnist for Opera Now magazine and wrote for the BBC until transferring to Italy. His articles have appeared in various publications from Woman’s Weekly to Gay Times, and he wrote the Danza in Italia column for Dancing Times magazine. Graham was the historical advisor on Codice Carla, the 2023 documentary on Italian ballerina Carla Fracci.
Graham also works as a dance photographer, and his photos have appeared in many books, theatre programmes, and magazines, including Dancing Times, Dance Spirit and Ballet2000, as well as all the major Italian newspapers.
He is a member of the Dance Section of The Critics’ Circle.
