Emma is originally from Wichita, Kansas. She has danced professionally with the Pacific Northwest Ballet since 2008. She was the first recipient of the Flemming Halby Exchange with the Royal Danish Ballet School and also a 2004 and 2005 recipient of a Kansas Cultural Trust. With PNB she has performed leading roles in works by choreographers such as George Balanchine, William Forsythe, Jiri Kylian, Crystal Pite, Alejandro Cerrudo, Ulysses Dove, David Dawson, Jessica Lang, and Kent Stowell. She is married to fellow PNB dancer and choreographer Price Suddarth.
Emma Love Suddarth and her husband, PNB soloist Price Suddarth. relax along the Seine river. Photo by Lindsay Thomas.
It's Monday, June 25. Armed with neck pillows, compression socks and loads of coffee, we are ready for our flight to Paris! Les Étés de la Danse, a French festival held at the beautiful La Seine Musicale theater, invited Pacific Northwest Ballet for its 2018 season. Half of the company will arrive the first week to participate in its Hommage à Jerome Robbins celebration with a handful of other companies. The rest will join the second week for a PNB-only residency.
Emma Love Suddarth and Price Suddarth rehearse Alejandro Cerrudo's "Little mortal jump." Photo by Lindsay Thomas, Courtesy PNB.
Romantic couples within the dance world are fairly common; it's not surprising that a dancer might find a deeper connection with another who appreciates ballet's unique triumphs and trials (not to mention someone else who doesn't mind eating dinner at 11:00pm, with both feet submerged in a bucket of ice). But when it comes to dancing together? Some love it, some hate it. Being able to communicate frankly with your partner, as you could with your spouse, can either smooth out or derail a rehearsal. But, with that, also comes the fact that there is no one else you want to succeed more, and vice versa.
Emma Love Suddarth and Dylan Wald in Price Suddarth's Signature. Photo by Angela Sterling, Courtesy Pacific Northwest Ballet.
Monday morning class after a three-day weekend? Stiff. After eight weeks off? Agonizing.
For most professional dancers on their summer layoff, a break from the daily grind is simultaneously exciting and unnerving. These months are often reserved for recovery and rest—a necessary opportunity to let the body repair and recharge. How dancers spend their summer break is mixed: some teach at summer intensives; some take the extended time to travel, visiting family or exploring internationally; some choose not to pause, performing at galas or festivals; and some just want to stay home, feet up, movies on. Depending on where you dance, the break might span a couple weeks or a couple months. Regardless of length, it involves a physical wind down, as well as a build back up. While it's never going to feel entirely easy, here are a few pro tips to help smooth the transition between 1 and 100 percent.
Company class is a little more exciting these days at Pacific Northwest Ballet. Look over in the corner of the studio and it's obvious why—Wendy Whelan is here. Dressed in a vest, with her pants tucked into her socks, one might almost forget that her name is virtually synonymous with the term ballet. But watch her do a devéloppé and you instantly remember. Her collection of accomplishments is extensive—classical ballerina, freelance artist, inspirational teacher, or even, as of late, documentary film star. But now, she's adding another new hat: ballet stager.