I started reading Catch-22, but only made it about half-way through the book. I just couldn’t finish. So when the play came along I was excited to approach the quasi-classic work in a different medium.

I wouldn’t describe this show as enjoyable. Not that there aren’t things to like it, or that it was directly enjoyable, but it certainly didn’t make “enjoyable”. The experience is worthwhile from a more intellectual approach. The story reminds me of one of those puzzles where triangles are nested in triangles and they ask: how many triangles are in this picture? The plot is full of allusions and interconnections, I’m sure much more than even those I did catch.

Catch 22 doesn’t have any directly traditional plot progression, but is more like a series of observations, presented for exploration. Catch 22 presents many of the absurdities of life. It’s almost a study in contradiction.

Set at a WWII airbase, Yossarian doesn’t want fly any more bombing missions, because he’s afraid he might be killed. He tries to get the doctor to send him home on a rule which says that crazy people must be sent home.
However, by recognizing his inherent danger and wanting to go be sent home, he proves his sanity and must stay. This is a catch-22, and the play is full of them.

As far as Theater Schemeter was involved, they did a great job. I love their theater–it’s a small, intimate space, with seating around the edge of the room level with the actors. Everyone has first or second row seats. The actors did subtle a number of times on lines which required fast delivery for effect, lessening the impact. At times in the play I felt lost, like we had lost too much in the editing from book to script and were missing something. They used the space well, and the actors did an excellent job of switching between their often multiple roles.

I was a little apprehensive going to this show; after all it is ballet. Over the years I was at BYU the ballet numbers at world of Dance did grow on me, but not tons. I didn’t know how well I would do with a full length production. The program description I saw on the Seattle Center website sounded interesting, however; suspended areal dancers and electric violins didn’t sound like your typical Swan Lake. And I wasn’t disappointed. This was a repertory piece, rather than a full-length, which means the show is comprised of a number of shorter performances, rather than the entire evening showcasing one piece. I was surprised to read in the program notes:

“These four exciting works make up what is known as a mixed repertory program. A ballet such as The Sleeping Beauty is known as a full-length. Full-length productions make money at the box office and mixed repertory programs do not. Why? Name recognition: Swan Lake, Cinderella, Coppelia, Nutcracker. Compare those names with the names of the four works you are seeing in this program. Swan Lake versus “Four Ballets You’ve Never Herd Of.” (Peter Boal, Artistic Director)

I’m just the opposite. I prefer a variety of shorter pieces over just one long one. You get to see and experience more. Huh.

All four pieces performed were contemporary, as opposed to classical, which I think helped me relate. They all showed influences of modern and other styles of dance.

Ancient Airs and Dances was the work closest to traditional ballet; it was fun noticing the contemporary influences and seeing how they blended.

Sure enough, Kiss was performed by two dancers suspended by 45 foot ropes. They could touch the ground, but the harnesses allowed a different type of movement than can normally be experienced. It sounds like a cool idea, and it is. I can just imagine how fun it would be experimenting with the concept during the original choreographic process, and accolades to all who try new things. Interestingly enough, the setup also limits what a dancer can do.

Red Angels was a nice combination of modern and ballet. It’s fun seeing what ballet training can do.

Nine Sinatra Songs showcased seven couples dancing to different Frank Sinatra songs. Each accentuated a different attitude and emotion, from classy to comic. It was neat experiencing the contrasting, accentuated, personalities of the dancers and the songs.

For those who doesn’t know, all PNB shows are preceded by a lecture which introduces and gives some background for the evenings performance, and followed by a question and answer session with the director and some of the dancers. Both are free with your ticket, and give additional substance and meaning to the evening. I recommend them both.