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November 17, 1999
Alfred Hitchcock and George Balanchine have a few things in common. Both considered geniuses in their fields, they came to the United States from Europe and revolutionized their genres. While somewhat autocratic, they did not shy away from working with other exceptional talents. And once admitted into their circle, these people tended to work on project after project with the great men. In addition, Hitchcock and Balanchine tended to find muses in similar women, favoring cool, patrician beauties with strong hidden passions bubbling just beneath the surface such as Grace Kelly, Kim Novak, Diana Adams, and Suzanne Farrell.
Pacific Northwest Ballet principal dancer Patricia Barker fits in to such a category. With her long flaxen hair, pale skin, and pious air, Barker looks as if she walked off the canvas of a Botticelli. But she is anything but stagnant, emphasizing a phrase's complete arc rather than individual steps while never sacrificing her strong attack.
Add to those gifts strong musicality and elegance, it is not surprising that Barker has excelled in the Balanchine repertoire, especially in roles associated with either Adams or Farrell. Barker has recently scored triumphs as Tatania in Midsummer Night's Dream both at home and abroad, where the critics were extremely impressed. "Tall, blond, she is a ballerina in the real, old-fashioned sence of a much-abused word with all that implies of maturity, command of effect, technical grace," wrote Clement Crisp of The Financial Times. "Her line is clear, fine-drawn, flowering from an expressive torso. She phrases and extends a step or sequence, allows it to float for a last breath-taking second on the air. She is, and this is especially affecting, an air of assurance - not girlish, but womanly - which brings a lovely gravity to her dancing."
The 30sh Barker has long had a signature role in Agon, where she most resembles Adams, and moved effortlessly into Farrell creations Chaconne and Mozartiana. Other rules include the lead in Theme and Variations and Divertimento No. 15 as well as Kent Stowell's Swan Lake and Romeo and Juliet.--Dale Brauner