November DanceWatch: A rich design for Toni Pimble’s ‘Mowgli’ at Eugene Ballet

A busy month also features Māori dance, traditional and hip-hop Nutcrackers, a Jefferson Dancers extravaganza, Bridge City Dance, the return of Alonzo King LINES Ballet, and a double bill of "Firebird" and "Petrushka."
The tribute season for Toni Pimble opens November 1 with "Mowgli," an original Toni Pimble ballet based on Rudyard Kipling's "The Jungle Book." Photo: Ari Denison
The tribute season for Toni Pimble opens November 1 with “Mowgli,” an original Toni Pimble ballet based on Rudyard Kipling’s “The Jungle Book.” Photo: Ari Denison

An extraordinary amount of unseen work goes into turning an idea into a dance and bringing it to life on stage. Even I’ve danced in and seen many different kinds of dance productions, and still I was awed this month by the collective artistry involved in Eugene Ballet’s Mowgli: The Jungle Book Ballet, choreographed by Toni Pimble in 2013.

The production, set to be performed at the Hult Center for the Performing Arts on November 1 and 3, marks the opening of Toni’s Tribute Season, a celebration of her remarkable 46-year career as artistic director of Eugene Ballet. This special season also signifies a new chapter for the company, as Pimble will pass the torch to associate artistic director Jennifer Martin and resident choreographer Suzanne Haag at the end of the year.

Jean Zondervan interviewed Toni Pimble for ArtsWatch in “A Remarkable Swan Song: Toni Pimble Enters the Last of Her 46 Years Leading Eugene Ballet.” Zondervan follows the trajectory of Pimble’s career, highlights the significance of her leadership as a woman in the ballet world, and discusses several of her most notable works, including her new ballet, The Lark Ascending, which was inspired by larks she liked to watch as a child in England.

Pimble’s ballet is inspired by Rudyard Kipling’s The Jungle Book from 1894, in which animals with human-like traits teach valuable life lessons. Kipling lays out rules for survival and harmony in the jungle through these fables, drawing inspiration from his childhood in British India. His ideas were also heavily influenced by the Panchatantra, an ancient Indian collection of fables, dating back to 200 BCE (though likely older, according to Wikipedia), and the Jātaka tales, a large body of writing recounting the Buddha’s previous births in both human and animal forms.

As revealed by Pimble in a video interview by Oklahoma City Ballet prior to its performance of Pimble’s Mowgli, the production took three years to develop. The ballet’s creation officially commenced when Richard Haugland, a supporter of Eugene Ballet, expressed his desire to fund the creation of a new children’s ballet. Haugland approached Pimble with the idea of choreographing, and she presented him with several ballets. Ultimately, he chose Mowgli.

Emmy® award-winning scenic artist Gregory Crane, known for his designs for SeaWorld, Busch Gardens, Six Flags Theme Parks, and more, along with Bill Burbach of Acme studio design and Barry Rogers in Eugene, designed and crafted immersive and surrealistic sets that blend traditional Indian cultural design with the bold, cubist-inspired aesthetics of German artist Friedensreich Hundertwasser, whose work Pimble admired. Pimble did not want realistic sets, she said in the interview. She wanted them to be artistic. These sets transform the stage from India’s vibrant, green jungles to the famous council rock, to the monkey’s ancient, mysterious, lost city, and to the village where Mowgli encounters his human family.

Mowgli also features two giant puppets designed by Crane — Shere Khan the Tiger and Kaa the Snake — which require up to eight dancers to manipulate. Multiple artists contributed to the puppets’ exteriors, adding color and texture to bring the animals to life. Costume designer Jonna Hayden worked on the 50-foot-long Kaa, covering its body with a variety of beautiful saree fabrics and decorative borders she purchased in the saree shops in Vancouver, British Columbia. She added appliqué, rhinestones, multicolored faux gems, and sequins to capture the richness of India’s vibrant textile culture and to make the snake sparkle in the nighttime scenes.

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CMNW Hagen Quartet

In Eugene, Hayden is renowned for crafting exceptional costumes for dance and theater companies of all sizes. Yet what truly sets her apart, among many other characteristics, is her unwavering conviction that each singer, actor, or dancer wearing her costumes must become one with the costume, which you will definitely see in Mowgli. “If a dancer, for example, is worrying that they might rip out their pants, I’ve failed my job,” Hayden says in “Stitches in Time: The fashion artistry of Jonna Hayden,” published in Eugene Magazine. “They need to be completely comfortable with their costume to the point of forgetting what they have on.” According to Eugene Ballet’s website, there are 70 costumes in Mowgli: The Jungle Book Ballet and one of the most complicated ones in addition to Kaa is Mao the Peacock. It features two tails: a dancing tail and a display tail bejeweled with more than 5,000 crystals.

For Eugene cermacist and activist Lynn Bowers, the process of making the 58 or so masks for Mowgli was all-consuming and took two years. Bowers, who was interviewed in Reed Magazine about her process for making the masks for Mowgli in the story “Behind the Mask: Artist-activist Lynn Bowers ’65 sculpts a life in clay,” had already dedicated three decades to making masks, puppets, and costumes for ballet, opera, and theater in Eugene, so she was perfect for the job. As an activist she also led efforts in forest mapping and founded Forestland Dwellers, a neighborhood nonprofit that researched pesticides in forestry. The group worked with University of Oregon scientists to create systems for collecting pesticide drift samples. 

“To prepare for Mowgli,” the Reed article said, “she read Kipling’s stories and pored over images of Indian, Thai, and Balinese art. She chose decorative elements such as metallic ribbon and acrylic gemstones. She mixed paint. Then she got out her clay and started shaping and sculpting animal faces.” The fired clay sculptures she made served as molds for crafting the masks for Mowgli from papier-mâché or Zotefoam. The blank surfaces came to life after she added vibrant colors, eyes, hair and the particular animals facial features needed for that character. The masks were brilliantly lightweight, durable, and uniquely decorated, no two are alike. Sadly Bowers passed away in 2018 of metastatic cancer. 

The production is rounded out by an evocative soundtrack that merges classical Indian music with jazz and world fusion elements and sound effects put together by Pimble herself.

In Pimble’s search for music for Mowgli, she discovered Baluji Shrivastav, an Indian multi-instrumentalist who was blinded at eight months old and has become one of the world’s leading composers and sitar players. She describes the music as including an Irish flutist, an American jazz singer, and an Egyptian percussionist from Cairo. She loved it because, while rooted in Indian culture, it also connects to cultures worldwide.

And let’s not forget the brilliant lighting design by Michael Peterson. As the lighting designer for a previous production of Pimble’s Mowgli, Kelly Baum, aptly states on his website, “Lighting creates environment,” and I couldn’t agree more. Without the lighting, the entire production wouldn’t work; it’s the magic that blurs the lines between stage and reality, drawing us fully into the world unfolding before us. From jungle shadows to moonlit scenes, Peterson’s lighting transforms the stage into a living, breathing experience that pulls you right into Mowgli’s journey. In the end, every element from the sets, costumes, music, and lighting, and dance of course, comes together in a stunning tribute to dance, art, storytelling, and Toni Pimble’s incredible legacy.

November Dance Performances

Mao the Peacock in Eugene Ballet's "Mowgli: The Jungle Book Ballet."
Mao the Peacock in Eugene Ballet’s “Mowgli: The Jungle Book Ballet.”

Mowgli: The Jungle Book Ballet
Eugene Ballet, choreographed by Eugene Ballet artistic director Toni Pimble
November 1 and 3
Hult Center for the Performing Arts, Silva Concert Hall, One Eugene Center, Eugene

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CMNW Hagen Quartet

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The Spirit of Mana Wahine (Powerful Women): A Conversational Journey with the Okareka Dance Company
Presented by White Bird
November 6, exhibition opens at 5 p.m., conversation begins at 6:30 p.m.
Center for Native Arts + Cultures, 800 S.E. 10th Ave, Portland
FREE

Join White Bird Dance, Okareka Dance Company, and moderator Christopher Morgan for an intimate conversation about the creative vision and cultural heritage of Mana Wahine (Powerful Women), a new work by New Zealand-based dance company Okareka Dance Company, presented by White Bird November 7-9. The creators and performers of the work, Taiaroa Royal, Tui Matira, and Ranapiri-Ransfield, will share their insights and experiences related to Mana Wahine from its inception to its impact on contemporary dance.

Õkāreka Dance Company, courtesy of White Bird. Photo by Alex Efimoff.
Õkāreka Dance Company, courtesy of White Bird. Photo by Alex Efimoff.

Mana Wahine (Powerful Woman)
Õkāreka Dance Company, choreography by Taane Mete, Taiaroa Royal, and Malia Johnston
Presented by White Bird
November 7-9
Portland State University, Lincoln Performance Hall, 1620 S.W. Park Avenue, Portland

Guided by Māori beliefs, the New Zealand-based dance company Õkāreka presents Mana Wahine/Powerful Woman. This work is inspired by the true story of a young Māori heroine and incorporates personal stories from the dancers’ families. It reflects the journey from creature to motherhood, from life force to the spirit world, while honoring Mother Earth and Sky Father. The performance weaves ancient Māori practices, including karakia (prayer), waiata (song), and mythology, to enhance cultural connections from Aotearoa, New Zealand, to the rest of the world.

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Sponsor

Portland Playhouse Notes From the Field Portland Oregon

The Hip Hop Nutcracker, choreographed by Jennifer Weber, features MC Kurtis Blow at Keller Auditorium on November 14. Photo courtesy of Portland'5.
The Hip Hop Nutcracker, choreographed by Jennifer Weber, features MC Kurtis Blow at Keller Auditorium on November 14. Photo courtesy of Portland’5.

The Hip Hop Nutcracker
Directed and choreographed by Jennifer Weber, featuring MC Kurtis Blow
Presented by Portland’5
7:30 p.m. November 14
Keller Auditorium, 222 S.W. Clay Street, Portland

Directed and choreographed by Jennifer Weber, The Hip Hop Nutcracker is a contemporary dance spectacle set to Tchaikovsky’s timeless music. This evening-length production is a joyful event performed by a supercharged cast of a dozen all-star dancers, a DJ, a violinist, and MC Kurtis Blow, one of hip hop’s founding fathers, who opens and closes the show.

Just as in the original, in The Hip Hop Nutcracker Maria-Clara and the Nutcracker Prince go on a dream adventure, battling a gang of mice, visiting the land of sweets, and learning the lessons of the holiday season. Innovative digital graffiti and visual effects transform the landscape of E.T.A. Hoffmann’s beloved story from traditional 19th-century Germany to the vibrant, diverse sights and sounds of contemporary New York City. 

Through this remixed and reimagined version of the classic, the dynamic performers of The Hip Hop Nutcracker take us on a journey that celebrates love, community, and the magic of the holiday season.

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Two woman dancers, one behind the other. Photo courtesy of The Jefferson Dancers.
Photo courtesy of The Jefferson Dancers.

SOAR 2024
A fundraiser for The Jefferson Dancers, directed by Steve Gonzales
7 p.m. Friday, November 15
BodyVox, 1201 N.W. 17th Avenue, Portland

In their 49th year, The Jefferson Dancers, a nationally recognized student dance company directed by Steve Gonzales and made up of students from Jefferson High School/Middle School College for Advanced Studies in Portland, returns to the stage with fresh energy and seven new dances representing a multitude of genres, including hip-hop, ballet, modern, jazz, aerial, and African dance.

Sponsor

CMNW Hagen Quartet

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The dancers of Bridge City Dance Collaborative. Photo by Rachel Vaca. 
The dancers of Bridge City Dance Collaborative. Photo by Rachel Vaca. 

Half Full 
Bridge City Dance Collaborative
Nov 15-23
Performance Works NW, 4625 S.E. 67th Ave. Portland

Bridge City Dance Collaborative, established in 2023 by friends who had a passion for dance but were not ready for the commitment of a professional company, proudly presents Half Full. This contemporary dance performance delves into the depths of human emotion, exploring themes of nostalgia, loneliness, naïveté, and the uncertainty of what lies ahead. Directed by Bella Malatesta, the cast and also the choreographers include Malatesta, Lilli DiPaola, Amie Zawadzki, Jessica Donez, Celeste Gutentag, Mariah Goncharoff, Abby McCarthy, Emily Hargett, Cali Ouellette, Emma Honberger, Sophie Nugent, Makenna Lambert, Sarah Chesley, Hailey Murdoch and Aaron Peite. The company’s mission is to provide performance and choreography opportunities and a safe space for dancers to grow and experiment. While Malatesta directs the Company, every dancer can take on administrative and choreography roles. 

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A Conversation on Unity and Perseverance with Alonzo King LINES Ballet
Presented by White Bird
6:30 p.m. November 20
Soul Restoration Center, 14 N.E. Killingsworth Street, Portland
This event is FREE to attend. Advance RSVP is suggested, as space will be limited. Those who RSVP will be admitted before walkups.
To RSVP, select ‘Buy’ on the right to proceed to the RSVP page. All RSVPs are free

Learn about the creative journey and the artists behind Deep River, a new choreographic work by Alonzo King LINES Ballet, performing November 21 to 23 at the Newmark Theatre in downtown Portland. Brought by White Bird, this intimate conversation is led by Dr. S. Renee Mitchell, an accomplished author, educator, and director of the Soul Restoration Center, and LINES Ballet artistic director King, who will dig into the inspiration for the work, exploring its themes of unity and perseverance.

Sponsor

CMNW Hagen Quartet

Alonzo King LINES Ballet, "Deep River," performing November 21-23 at the Newmark Theatre. Photo by RJ Muna/courtesy of White Bird.
Alonzo King LINES Ballet, “Deep River,” performing November 21-23 at the Newmark Theatre. Photo by RJ Muna/courtesy of White Bird.

Deep River
Alonzo King LINES Ballet
Presented by White Bird 
November 21-23
Newmark Theatre, 1111 S.W. Broadway, Portland

In a world in pain, King’s newest work, Deep River, created in isolation during the pandemic, emerges as a love letter, a call to hope to humanity. The work symbolizes the lotus blossoming out of the mud and invites us to see each other as one family and to look at each other with compassion and understanding. It is performed by King’s technically brilliant, sinewy dancers to a soulful score composed by the MacArthur Award-winning jazz pianist Jason Moran and featuring the voice of GRAMMY Award-winning vocalist Lisa Fischer.

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"The Nutcracker." Photo courtesy of Oregon International Ballet Academy.
“The Nutcracker.” Photo courtesy of Oregon International Ballet Academy.

The Nutcracker
Presented by Oregon International Ballet Academy
November 23-24
The Patricia Reser Center For The Arts, 12625 S.W. Crescent Street, Beaverton

Celebrating its 10th Season, Oregon International Ballet Academy (OIBA), led by artistic directors and husband-and-wife team Xuan Cheng and Ye Li, will present its annual full-length production of The Nutcracker. The production will feature the award-winning OIBA students alongside guest artists from Casa de Arte (Kumamoto, Japan) and Oregon Ballet Theatre principal dancer Brian Simcoe. Cheng is the current ballet mistress and principal dancer of the Hong Kong Ballet, and was previously a principal dancer at Oregon Ballet Theatre. Li is an award-winning choreographer, former OBT soloist, a soloist with the Guangzhou Ballet of China, and a former Les Grands Ballets Canadiens company member. The two bring lifetimes of creativity and expertise to this grand ballet.

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"The Firebird." Photo courtesy of The Portland Ballet.
“The Firebird.” Photo courtesy of The Portland Ballet.

Firebird and Petrushka
Presented by The Portland Ballet, choreography by John Clifford and Tom Gold
November 30-December 1
Portland State University, Lincoln Performance Hall, 1620 S.W. Park Avenue, Portland

Sponsor

Portland Opera The Shining Newmark Theatre Portland Oregon

The Portland Ballet presents an all-Stravinsky program featuring Tom Gold’s Petrushka and John Clifford’s Firebird. Clifford’s retelling of Michel Fokine’s The Firebird tells the tale of a magical bird and a young prince’s quest to break an evil sorcerer’s spell. Gold’s Petrushka tells the tragic story of three puppets caught in a love triangle while working at the Heathman Hotel in the 1950s. Petrushka is in love with a glamorous lounge singer, but unfortunately, she loves the doorman instead of him. Set against a backdrop of vintage charm, Petrushka, like Firebird, explores themes of love, freedom, and acceptance.

Jamuna Chiarini is a dance artist, producer, curator, and writer, who produces DanceWatch Weekly for Oregon ArtsWatch. Originally from Berkeley, Calif., she studied dance at The School of The Hartford Ballet and Florida State University. She has also trained in Bharatanatyam and is currently studying Odissi. She has performed professionally throughout the United States as a dancer, singer, and actor for dance companies, operas, and in musical theatre productions. Choreography credits include ballets for operas and Kalamandir Dance Company. She received a Regional Arts & Culture Council project grant to create a 30-minute trio called “The Kitchen Sink,” which was performed in November 2017, and was invited to be part of Shawl-Anderson’s Dance Up Close/East Bay in Berkeley, Calif. Jamuna was a scholarship recipient to the Urban Bush Women’s Summer Leadership Institute, “Undoing Racism,” and was a two-year member of CORPUS, a mentoring program directed by Linda K. Johnson. As a producer, she is the co-founder of Co/Mission in Portland, Ore., with Suzanne Chi, a performance project that shifts the paradigm of who initiates the creation process of new choreography by bringing the artistic vision into the hands of the dance performer. She is also the founder of The Outlet Dance Project in Hamilton, N.J.

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