For the next two weeks, the extraordinary talent of Pacific Northwest Ballet’s resident choreographer Jessica Lang is on full display at McCaw Hall with ALL LANG, a program featuring audience favorite Her Door to the Sky, the moving Ghost Variations, and the Seattle premiere of ZigZag—set to the tunes of Tony Bennett. Before the curtain rises, PNB Artistic Director Peter Boal sat down to chat with Lang about these ballets and her upcoming new work debuting at Ballet Sun Valley in June.
Peter: Jessica, welcome back to PNB! You have spent considerable time here this spring between Momotaro, ALL LANG, and your newest work, Pages, which premieres in Sun Valley next month and then in Seattle in September. How is being a resident choreographer different from doing just one work for a company?
Jessica: Being a resident choreographer allows for a much deeper relationship with the dancers and the organization as a whole. When I return for multiple projects, I’m not starting from zero each time—I’m building on a shared language, trust and understanding. That continuity opens the door to more risk-taking and nuance. It becomes less about creating a work and more about contributing to an evolving artistic identity together.
Peter: Her Door to the Sky is the first piece you made on PNB: It’s inspired by the artist Georgia O’Keeffe. Tell us what moved you to make this work.
Jessica: Her Door to the Sky was inspired by the world of Georgia O’Keeffe—not just her paintings, but her sense of space, solitude, and strength. I was moved by how she framed the natural world and her ability to find expansiveness within simplicity. The work became an exploration of perspective, both physical and emotional, and how we locate ourselves within vastness.
Peter: Ghost Variations is set to the music of Robert and Clara Schumann. How did their music and relationship influence your creative process?
Jessica: The music of the Schumanns carries such emotional depth, especially when you consider their personal story. Their relationship was full of love, struggle, and devotion and shaped the emotional landscape of the ballet. Practically speaking, Robert’s Ghost Variations was too short on its own, so I looked for complementary music and turned to Clara’s work. Gradually, the idea emerged to intertwine their music, much like their lives. The final movement features one of Robert’s lieder transposed by Clara for piano and it feels like the ultimate collaboration.
Peter: You worked closely with Tony Bennett on several projects for ABT. Talk about him as a collaborator.
Jessica: Working with Tony Bennett, his family, and his team was an incredible gift. My relationship with him began in 2016 while I was preparing a work for my company. He was generous, kind, and deeply inspiring. I’ll never forget the first time he sat beside me in rehearsal and quietly whispered “beautiful” in response to a movement phrase—I remember thinking, this is really THE Tony Bennett!
Peter: I loved how you described his philosophy around “It Don’t Mean a Thing” in regard to his band and how you adopted the same philosophy within the company’s ensemble.
Jessica: Tony Bennett was always about the team. Even as the artist in the spotlight, he made a point to honor his band, often stepping back during performances to let them shine. I carried that idea into ZigZag. In “It Don’t Mean a Thing,” Tony only sings the opening lines before giving space to the music, and I used that moment to highlight the corps de ballet giving these dancers their own time at center stage.
Peter: You made Her Door to the Sky on Elizabeth Murphy and Ghost Variations on Lucien Postlewaite. These two exemplary artists take their final bow with PNB on June 7th. Tell us about the unique partnership that exists between dancer and choreographer.
Jessica: The relationship between a dancer and choreographer is incredibly special. With artists like Liz and Lucien there’s a deep level of trust and openness. They bring not only technical brilliance but also their humanity into the process. When you create on someone, you’re responding to who they are, not just as dancers, but as people, and that collaboration leaves a lasting imprint on the work forever. I will miss them both tremendously.
Peter: Here’s an easy one. Why PNB? What’t special about this place. A tip: careful how you answer—we have some serious PNB fans out there.
Jessica: Why Pacific Northwest Ballet? Because it’t a place where artistry and integrity truly meet. The dancers are extraordinary, not just in their ability, but in their curiosity and commitment. There’s also a strong sense of community here, both within the company and with the audience. It’t a place that values creation, and that’s incredibly meaningful to me as an artist. And I am so grateful to feel like I belong.
Peter: Thank you so much. We couldn’t be more thrilled to have you as a treasured part of the PNB family.
Pacific Northwest Ballet’s All Lang will be performed at Seattle’s McCaw Hall from May 29–June 7. Click here to learn more >>
This interview was originally published in the All Lang magazine. It is republished here courtesy of Pacific Northwest Ballet. Check out the magazine >>
Featured Image: Lucien Postlewaite in Jessica Lang’s Ghost Variations, photo © Angela Sterling.
