The Performing Arts: The Original 3-D

Now that Ballet Bellevue’s choreographed Messiah production is done, and I’ve taken some much needed days off and have at least partly caught up on the myriad things left undone during the month of December (including this blog, in part!) I can take pen in hand (or keyboard actually) and jot down some thoughts on the challenges and joys of shouldering such an unusual undertaking.

There are several vivid memories that rise to the surface as I look back over the last few weeks: the sheer size of the production and the formidable task of getting all the dancers and musicians in the right places at the right times; the wonder in finally seeing it all come together, costumes, lighting and all; the unutterable grace of the dancers; the astonishing power of music, words and visuals working together as one; the claustrophobic space that is the orchestra pit; the joy of working together to create art; hugging one of the dancers after a performance and feeling the heavy dew of sweat on her face; the reaction of those in the audience who said quite simply to me afterwards, “Wow!”

There are also vivid memories of moments of consternation: uh oh, a particular stage cue was supposed to happen and it hasn’t yet, should I wait a moment before moving on to the next movement, hoping it will happen, or just forge ahead? (it did happen in time—barely!); oh no, I was supposed to wait for a lighting cue before starting For Unto Us, but I forgot! (the dancers adjusted); that moment on opening night when I lifted the baton to start the overture and then the stage manager turned on his backstage mic and made an important announcement (they forgot to tell me about that! We were literally a split second away from the downbeat); my own  inner jerk during the dress rehearsal when one of the dancers nearly fell, followed by the realization that I must close my mind to the stage action and concentrate on keeping the production moving forward, no matter what.

In spite of, and because of, the above, plus so much more, this choreographed Messiah was an incredible experience.  There is always a large element of risk in live performance; that’s why living, breathing performing-art productions are so much fun, and so much more exciting than a taped or recorded or filmed performance.  Those things are certainly good, and I have a large CD collection and love movies.  But there is nothing quite like a live performance.  There is bone and muscle and breath in action, and sometimes even spit sprayed out by a singer.  No movie 3-D image can give you that.

The performing arts; they’re the original 3-D!

Dr. Linda Gingrich

Artistic Director and Conductor

Master Chorus Eastside