Emerald Bay

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Northwest Ballet Theater
1417 Cornwall Ave.
Bellingham,WA 98225

360-714-1246
info@northwestballet.org

Northwest Ballet Theater
Artistic Director, John Bishop

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‘Emerald Bay’, a genuinely ‘global’ creation

The company has won high praise for its success in combining Washington folklore with classical ballet in Emerald Bay, and has presented this moving story of the Chinese Expulsion of 1885 to audiences around Washington. More recently, two additional classical works, Les Sylphides and Don Quixote have been added to the company’s repertory.

Emerald Bay , a dramatic original ballet written by Christopher Wise and choreographed by John Bishop. The ballet was performed at Meany Hall in Seattle and Mount Baker Theatre in Bellingham in May and June. It was depicted as a 19th century Romeo et Juliet with the story being set in Bellingham in 1885 involving the tragic love story of Julie O’Conner a beautiful Scots-Irish girl and Li Puo, a brave Chinese sea captain. The ballet introduced traditional Irish, Scottish, and Chinese dance with classical ballet and represented the diverse cultural spectrum that existed in Bellingham before Chinese and other immigrant workers were driven from the community. Writer Christopher Key was impressed by the artistic quality of the ballet and wrote in his review ‘This City of Subdued Excitement is, in many ways, a model of multi-cultural acceptance and understanding. Not perfect, by any means, but light-years ahead of many American communities. Northwest Ballet has brought forth a production that sheds some light on a shameful part of our history and will help us move forward with passion and compassion.

Emerald Bay , is based on historical events that occurred in Bellingham and other parts of Washington, is now an original featured piece in NBT’s repertory. The production is a groundbreaking creation, presenting an authentic story drawn from Washington folklore, finely translated into classical ballet form and technique. The costumes and scenery are designed after traditional dress and architecture of that period, with the adaptations necessary to accommodate ballet choreography.
What sets this production apart from other ballet productions, is that Northwest Ballet Theater’s Emerald Bay is totally unique in style from the more familiar format of classical ballet, making it more ‘worldly’ and giving a glimpse of Washington history and culture which can easily be understood by a global audience. Proof of the efficacy of Northwest Ballet Theater’s strategy of combining a Western story with both Asian and Western mediums can be found in the audience reaction. In all locations where Northwest Ballet Theater has performed Emerald Bay, the dramatic moment of Julie O’Connor’s loss of her brother and her lover has brought tears to the eyes of the audience, along with warm applause.

Another reason for the strength of the production is the international team of artists who have collaborated in Emerald Bay’s creation, and in the refinements made over the two years of the production’s history. The libretto for Emerald Bay was written by Professor Christopher Wise, well-known for his literary achievements in the US and abroad. Further refinements to make the Chinese elements of the story more authentic were contributed by Professor Ning Yu who is originally from Shanghai. The ballet incorporates original compositions from Sean Davies, Chen Gang, He Zhanhao, and Alexandr Borodin giving it a rich variety of musical styles. Choreographer John Bishop is also well schooled in the musical structure of western classical ballet and also has created over 50 original ballets. Professional Irish dancer and choreographer Allison Kahl contributed greatly to the Irish and Scottish dancing choreography and Jianna Zhang who is the artistic director for Silk Road Dancers in Bellingham choreographed the traditional Chinese dance scenes. Selena Storey, Emerald Bay's costume designer, an experienced theatrical designer, has a personal interest in the ballet because of her own ethnic heritage and studied traditional Irish, Scottish, Scandanivian clothes thoroughly when researching for her designs. Rounding out the international team are the artists responsible for the set and lighting designs. Dave Wright has been lighting designer for nine seasons with NBT.

Moreover, the company's General Director, Mieko Bishop is Japanese and shares a deep interest in the historical and cultural side of the ballet that relates to what Japanese and other people of Asian descent were experiencing in parts of America before and after World War II. Northwest Ballet Theater's current roster of dancers includes dancers from China, Russia, and Japan, in addition to the American dancers who comprise over three quarters of the company. This diverse blend of artists and dancers brings global understanding and interpretation to the work.

Emerald Bay had its premiere in Seattle at Meany Hall on the campus of Washington University on May 15, 2011. It was the first time the company performed in Seattle so expectations were high but with some obvious 'jitters' opening night. When the curtain fell on the closing scene, the audience was on its feet and when the curtain rose again for final bows the principals and entire cast were greeted with a standing ovation. Later in the lobby over 200 people who bought VIP tickets to the performance participating in a wonderful post performance reception. United States, with appearances in New York, Washington and Los Angeles. At that time, the Artistic Director, choreographers and staff celebrated its Seattle debut and the first performance of the ballet. Later, Emerald Bay was performed three times at the Mount Baker Theater in Bellingham. For Northwest Ballet Theater, 2011 was a very historical year because the company performed the ballet to an enthusiastic audiences in Seattle and Bellingham and received great acclaim from critics.

. Renowned Entertainment Northwest writer Christopher Key wrote of the company's Seattle's performance, ' . . Bishop and Wise have ingeniously incorporated other cultures into the mix, including the Lummi, the Scots and the Dutch, all of whom played a role in the historical drama that is Whatcom County. The result is a history lesson that is far more compelling than anything taught in a classroom.

Christina Stockdale is a principal dancer with Ballet Bellevue and will be familiar to local audiences, having performed in the Northwest Ballet productions of The Nutcracker and Dracula. Her heart-wrenching performance in Emerald Bay will leave you limp.

Her Chinese paramour is portrayed by Shuai Chen, a member of Ballet San Jose. He is the hero of a backstage drama that took place when a dancer from China was denied an exit visa just two weeks before the scheduled premiere at Meany Hall in Seattle. That was the performance I attended on May 15 and there was no doubt that a week of 18-hour rehearsal days paid off. Chen looked as though he had been part of the troupe from the beginning and that speaks wonders for his professionalism and dedication. Not to mention that of the rest of the company who obviously supported him every step of the way.

Artistic Director Bishop keeps threatening to retire as a dancer and we can all be thankful that his threats have proved empty so far. He plays Gurn O'Connor, Julie's violently racist brother, with the verve of a much younger man. Allison Kahl, who collaborated on the choreography, plays Julie's best friend Reilly Doyle with exquisite grace and style. The other collaborator on the choreography, Jianna Zhang, leads the Chinese dancers. Venise Lee is enchanting as Li Ling, sister of the besotted captain.

Wise, who authored the script, is wonderfully whimsical as Dirty Dan and the inimitable Angus McLane reprises an earlier theatrical role as Mark Twain. It is perfectly fitting that professor Yu plays Goon Dip. He admits that he often found himself strongly identifying with the character and that was evident in his performance. (Entertainment Northwest, Bellingham WA, May 18, 2011)

Regarding this year's historic ballet, Artistic Director Bishop says, "I am forever grateful to so many people and organizations who supported me in this project from beginning to end. From Seattle to Vancouver BC, and from Shanghai to San Jose CA , people from so many different places came to perform, contribute and attend the inaugural performance of Emerald Bay. My dream is to share our own unique creation, Emerald Bay, with audiences everywhere and anywhere it might take us."

John Bishop as Gurn in NBT’s production of Emerald Bay

Northwest Ballet Theater
Emerald Bay
Presented in Seattle and Bellingham WA

Libretto: Christopher Wise
Music: Sean Davies, Chen Gang, He Zhanhao, and Alexandr Borodin
Choreography : John Bishop, Allison Kahl, Jianna Zhang
Costume Design: Selena Storey
Set Design: Rob Henderson
Lighting Design: David Wright
Running Time: 2 hours 15 minutes (including one 15 min. intermission)

Emerald Bay, a modern day classical masterpiece Created for Northwest Ballet has sparked interest in many hearts in only its first year. As major newspapers and magazines around the Pacific Northwest have praised its success, Emerald Bay enjoys a growing endorsement from prestigious circles in Washington, Canada and the Asia.

Choreographer John Bishop and writer Professor Christopher Wise teamed up to infuse traditional elegance into this classic ballet work. In preparation, they studied the history of Washington and took care in combining Chinese cultural history with western classical ballet forms with the invaluable help of Professor Ning Yu. This resulted in the creation of Emerald Bay, a new level of performance blending traditional sentiment and modern artistry into one.

Main Story Line: The love story centers on Julie O'Connor, an Irish-American girl who falls in love with Li Puo, captain of a Chinese trading ship. This horrifies both of their families and tensions in the community, already high, explode into violence. Julie's brother Gurn, a hot-headed Irishman becomes furious over his sister's paramour and vows to drive him and all Chinese from his town.

Main Cast: Christina Stockdale/Julie O'Connor, Shuai Chen/Li Puo, Venise Lee/Li Ling, Allison Kahl/Reilly Doyle, John Bishop/Gurn, Ning Yu/Goon Dip, Christopher Wise/Dan Harris, Angus McLane/Mark Twain

Unforgettable Highlights

* The Opening Scene with Julie in the Lummi Indian Village

* The strength and vigor of the Irish dances, in the Port of Bellingham, matching the energy of the cast of Michael Flattley's River Dance.

* The colorful and exciting Chinese traditional dances in Act I.

* Pas de Deux with the Julie and Li on the Bellingham Bay - as memorable as Romeo and Juliet balcony scene.

* Gurn and Reilly's Sword Dance

* The Scottish Reel dance in Dance in Dan Harris's Saloon

* The moonlit pas de duex of Julie and Li on Li's ship deck

* The Fight to the Death Dance in Act II

Historical Note

Not long after the Asian Exclusion Act of 1882, Chinese immigrants were driven from the area. In downtown Fairhaven, a local marker indicated the precise spot where the Chinese population wcould not pass without fear of severe repercussions. It was know as the "Deadline for Chinaman" and is alluded to in the ballet. In years past, the marker was removed. In May and June 2011, the city of Bellingham rededicated the marker, in its original location and issued a formal apology to the Chinese community by Bellingham Mayor Dan Pike. It was officially acknowledged by the Northwest Chinese Cultural Association.

Description History
Production Synopsis

John Bishop, who has had a stellar career as a Principal Dancer during the 70’s and 80’s firmly believes that the more the world comes to know ballet, the better the world will be, because things of beauty bring goodness to the world. In the words of the great Russian writer Dostoyevsky, “Beauty will save the world”. The company’s upcoming season continues its ongoing vision to share the beauty of ballet with people around the Washington area and fulfill its mission as a regional ballet company.

Northwest Ballet Theater is slated to perform in Washington, Canada and possibly China or Japan over the course of the next three years. Beginning with performances at home in the historic Mount Baker Theater in Bellingham and its secondary venue, McIntyre Hall, the company hopes to perform at the Centre in Vancouver for Performing Arts in the spring of 2013..

Plans for a new production in spring 2012 are still unfolding, and may include performances in Spokane and Tacoma. Discussions are ongoing regarding trips to St. Petersburg Russia and Oceania for 2013.

Act II - Scene III: Port of Fairhaven

Furious at the turn of events, Gurn rabble rouses his friends in Fairhaven. He is dead set on destroying the relationship between Julie and Li Puo. He sets the Irish dock workers on the march, all wielding pitchforks, knives, pistols and shotguns. Chinese men, women and children are now driven out of town by Gurn's thugs. They do their best to overcome Li Puo, but Julie dashes in and gives her lover her own sword, so that he might defend himself against the tyrannical Gurn. Before the fight begins, it is almost as if death itself makes its presence known. In the the terrible struggle that ensues, Li Puo kills Gurn, but he is also mortally wounded by one of Gurn's thugs. He dies in Julie's arms. Later, townspeople are gathered for Gurn's wake while Julie despairs at what has happened. She mourns the death of her lover and her brother in a sad dance. She then pulls out her knife intent on killing herself. Before that can happen, Li Ling and Reilly appear and take the knife away from Julie and pull her away in their arms. Dirty Dan and Goon Dip then appear shaking their heads. They curse the 'deadline' and all the tragedy that has occurred. Mark Twain then appears. He has been documenting the events from the time he arrived. He makes one final note in his journal and closes it.

Act II - Scene II: Li Puo's Ship

At last free to express how they feel for one another, Li Puo and Julie dance a beautiful pas de duex. They are clearly in love. While they are aware of the barriers that might prevent them from being together, they are determined to carry out their plans to be wed. Li Puo pledges his love for Julie and asks her to return with him to China. He promises that everything will be fine in his homeland, and Julie pledges her love in return. She agrees to leave with him.

Act II

Act II - Scene I: Dirty Dan's Hotel

Inside Dirty Dan’s Hotel, men play cards at a table and saloon girls gossip at the bar. One of the men sitting at a table is Mark Twain. Dirty Dan and a couple of Irish thugs are all confounded when they lose their bets to the famous writer. Feeling mischievous, Reilly invites one of the men to dance. A flirtation dance ensues, and soon the whole saloon is filled with lively dancing. The Chinese guests arrive, whom Dan welcomes, happy to reciprocate the hospitality they have shown him. After all drink a toast, more guests arrive. Moved by the spirit of dance, Good Dip decides to take his turn on the dance floor. He invites his neice Li Ling and some of her sisters to dance with him. Meanwhile, Li Puo decides it is his turn to impress Julie. He dances a spirited solo then boldly takes Julie by the hand and dances with her. A quarrel between Li Ling and Reilly ensues. However Julie doesn’t care what anyone thinks. She astonishes everyone by announcing that she has made up her mind: Li Puo will be her sweetheart no matter what everyone else thinks. Then Gurn is thrown into such a violent rage that he challenges Li Puo to a fight with knives. Li duels fiercely with Gurn to protect himself without injuring Julie's brother Gurn. Gurn sees his weakness to fight back and cuts Li Puo on the forearm. Dan and others grab Gurn and throw him out of the saloon. Happy that things have calmed down, the guests dance an Irish reel.

Act I - Scene V: Moonlight at Bellingham Bay

Julie is saddened by the actions of her brother and dismayed by her father's strict rules. She takes a walk along the bay, shunning the company of others. She dances to lift her spirits. Watching from afar is Li Puo. Overcome by Julie's beautiful dancing, he gently approaches her. The dance a romantic pas de duex.

Act I - Scene IV: Port of Fairhaven

Back at the port, Dirty Dan bids goodbye to Li Puo and the Chinese sailors, thanking them for saving his life and their hospitality. Goon Dip greets them and is shocked at the appearance of Li Puo's sisters, who are also his nieces. However, he welcomes them and offers them a meal inside his store. Reilly Doyle, who is Julie's best friend, and Gurn's sweetheart, enters along with Julie and Gurn. They have all come to see the colorful ship that has arrived. Li Puo and Julie spot one another from across the deadline. There is an instant chemistry between them, an immediate spark. Nearly, but not quite, they almost touch. Astonished, Gurn and Reilly watch what happens between Li Puo and Julie. It is Goon Dip and Reilly who break the two apart, knowing that they could never be together. However, Julie does not give up. After some mean spirited encouragement from Reilly, Julie seeks to meet Li Puo once again. The couple is separated once again. Gurn and Reilly are satisfied that they have thwarted Li Puo and Julie. The lead the Irish and Scots in a celebratory sword dance.

Act I - Scene III: Bellingham Bay

Dirty Dan heads back from his whiskey run to Victoria, Canada. His boat is filled with whiskey. He rows on the open waters of Bellingham Bay, but the waters soon become choppy. Suddenly, a large boat with Chinese markings crashes into Dan's boat, sending Dan and his whiskey overboard. The Chinese sailors and their captain haul Dan and his precious whiskey cargo aboard. Dan and the Chinese Captain Li Puo quickly strike up a friendship over Dan's whiskey. Everyone begins to dance when a hat is accidently knocked off one of the Chinese sailors head, exposing long tresses of dark, beautiful hair. All aboard are shocked to realize the sailor is actually a girl who has disquised herself as a man. It is the captain's sister Li Ling. As he vents his astonishment and anger, more Chinese sailors step forward. One after another they remove their hats and shake out their long hair. They are Li Ling's sisters. To Li Puo's bewilderment and Dirty Dan's delight, the stowaway sisters lead the sailors into a dance. Finally, determined to stay in Bellingham, Li Ling and her sisters prepare to greet their new home. Dan assures his new Chinese friends that they will all be his special guests at his saloon.

Act I - Scene II: Port of Fairhaven

The scene changes to a bustling dock at the Fairhaven Port in 1885. One one side of the stage stands Dan Harris's Hotel and the other corner is Goon Dip's Chinese dry goods store. In between lies the 'deadline' that Chinese people cannot cross. It is a busy day on the port with people from all walks of life going about their affairs, but soon the scene grows harmonious as dancers from diverse lands fill the port. From the Chinese side of town, the merchant Goon Dip and his assistant emerge with a wheelbarrow brimming full of salmon. Goon Dip sells his friend Dirty Dan Harris a large salmon. He is careful to stay on the right side of the deadline, but Gurn O'Connor, who is Julie's hot-headed brother, makes it clear that he does not like Goon Dip or Chinese people. Julie enters and beckons Goon Dip to ignore the line and befriend her. In a fit of rage, Gurn kicks Goon Dip's wheelbarrow and quarrels with his sister. Julie storms off, angry at her brother's intolerance. Patrick O'Connor, their father, who is annoyed with both Julie's and Gurn's behavior, takes Gurn and drags him away. Dirty Dan tries to smooth things over by offering them a drink, but he realizes his whiskey barrels have run dry.

Synopsis

Act I - Scene I: A Lummi fishing village

Act I: Scene One: Bellingham Bay

The curtain opens on a quiet and beautiful day on the "emerald" bay. The sun has just risen. The bayshore is pristine and dazzling in its natural beauty. We can hear the gentle sound of the ocean waves and the birds in the music. We see Lummi totem poles and a traditional Lummi lodge house in the backdrop (and/or set pieces). The color emerald is striking in the backdrop. We get a sense of the serenity of the area. At a far corner of the backdrop, we see the new frontier town of Fairhaven in the distance. A Lummi mother and her children gather oysters, geoducks, and clams along the beach, which they place in woven baskets. Julie O'Connor (the Scots-Irish female principle dancer) enters. She helps the Lummi family gathering seafood. She dances. We see a happy young woman who is filled with life and its possibilities. Her father Patrick O'Connor, wearing a kilt, enters at the other end of the stage. He motions for her to leave. Julie says goodbye to her new friends and exits the stage with her father.

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