This year's gala evening at the Jacob’s Pillow Dance Festival marked the beginning of its 2025 season with a vibrant celebration. The event highlighted not only the festival's rich history but also its promising future, featuring performances that spanned decades of dance evolution. Executive and Artistic Director Pamela Tatge announced impressive figures for the summer: nearly 950 artists, crew, and staff contributing to 127 performances across three stages. However, the night was particularly dedicated to Norton Owen, the Director of Preservation, who received the Jacob’s Pillow Dance Award for his half-century dedication to the festival.
The performances in The Ted Shawn Theatre encapsulated the past, present, and future of dance. Highlights included Taylor Stanley's rendition of "Mourner’s Bench," choreographed by Talley Beatty in 1947, as well as pieces from Camille A. Brown, David Middendorp, and Christopher Wheeldon representing contemporary dance. Additionally, students from the Contemporary Ballet Performance Ensemble showcased their remarkable skills with a piece choreographed by Annabelle Lopez Ochoa, learned in just five days. Keynote speaker Senator Elizabeth Warren presented the award to Mr. Owen, emphasizing the festival's enduring legacy and cultural significance.
Legacy and Vision: Honoring Norton Owen
Norton Owen's fifty-year journey at Jacob’s Pillow has left an indelible mark on the world of dance. His work has influenced countless dancers, choreographers, historians, and musicians over the decades. During the gala, Owen was honored with the Jacob’s Pillow Dance Award, celebrating his monumental contributions to preserving and advancing the art form. His impact is evident in exhibitions like "Connecting Through Time: 50 Seasons with Norton Owen," curated by Wendy Perron, which beautifully illustrates his influence on the dance community.
Owen's dedication extends beyond mere preservation; it involves fostering connections between generations of artists. His choice of "Mourner’s Bench" for the gala exemplifies this commitment, bridging the gap between historical choreography and modern interpretation. The performance by Taylor Stanley captured the essence of Talley Beatty's original work while resonating with contemporary audiences. Owen's involvement in selecting such pieces underscores his deep understanding of dance history and its evolution. His presence ensures that the spirit of innovation continues to thrive within the festival, inspiring both emerging talents and seasoned professionals alike.
Innovative Performances: Bridging Past, Present, and Future
The gala featured performances that seamlessly connected different eras of dance, offering a comprehensive view of its progression. From the classic "Mourner’s Bench" to cutting-edge works by Camille A. Brown, David Middendorp, and Christopher Wheeldon, the program celebrated the dynamic nature of dance today. These performances demonstrated how traditional elements can coexist with modern techniques, creating a rich tapestry of artistic expression. Particularly noteworthy were the students from the Contemporary Ballet Performance Ensemble, whose rapid mastery of Annabelle Lopez Ochoa's choreography highlighted their exceptional talent and adaptability.
Beyond showcasing established choreographers, the gala provided a platform for emerging artists to shine. BODYTRAFFIC's presentation of "Flyland" utilized digital technology to enhance the visual experience, echoing Fred Astaire's iconic routines yet pushing boundaries into new realms. Meanwhile, New York City Ballet soloists Alexa Maxwell and Alec Knight delivered a poignant rendition of "After the Rain." This blend of styles and approaches reflected the festival's commitment to embracing diverse voices in dance. By including performances from all levels—veteran dancers, current innovators, and up-and-coming students—the gala effectively illustrated the continuum of creativity that defines Jacob’s Pillow.