Active in Seattle - Pacific Northwest Ballet principal Manard Stewart - Cover Story

Dance Magazine, Feb, 1998 by Valerie Gladstone

A lot of his sense of security comes from the company's directors, Stowell and Russell. "They are very consistent," explains Stewart. "They treat you with respect and interest; you know they are always watching you." Russell has only the warmest praise for him: "Manard is the kind of dancer we dream about. He's extremely capable, dependable, and versatile. He has a great work ethic."

What audiences usually notice about him is his sensitive partnering. PNB principal Linnette Hitchin knows firsthand: "Manard is always the confident professional. He knows so many ways to ease stress. If we have trouble in our partnering, he talks it out. If there's tension in a room before a performance, with his incredible sense of humor he eases it. I love watching him dance, too, because his lines and positions are so beautiful."

Last fall Stewart took on this first project at at the invitation on Mel Butler, the organist at Seattle's St. Mark's Cathedral, where Stewart is a choir member. Butler asked him to do a piece to French composer Olivier Messiaen for a June recital. "Mel and I talked about the sorry state of liturgical dance--how it's usually been the highest kitsch," he says. "I've been working on it in my room with a video camera, but with the windows taped so no one can see in." He's excited about the work, which he sees as a quartet for PNB's Timothy Lynch, Alexandra Dickson, Lisa Apple, and himself.

Meanwhile he has been dancing new roles. This season he has performed Franz in Coppelia, Oberon in Balanchine's A Midsummer Night's Dream, and the lead in Tetley's Voluntaries (the most challenging of all). "My favorite thing is doing roles I don't normally do," he says. "I'm having a great time."

Valerie Gladstone, coauthor of Balanchine's Mozartiana, covers the performing arts for several publications.