nanushka

As much as I love Veronika Part's dancing, I have to admit that Zina's opening dance in The Bright Stream (holding the book) didn't make much sense to me when I saw her dance it. It was only when I saw Xiomara dance it at a later performance that I really got how the music and the steps were meant to go together. Someone mentioned above that they never seek out her performances but are always pleasantly surprised; that's been my experience several times this season.

Based on my limited reading of the Macaulay forum, I gather that what goes on over there is more a meta-critical discussion about the criticism. What happens here, it seems, is quite natural and quite different: those who post at times refer to the views of others in order to illuminate their own descriptions of what they have seen and of how they analyze and understand what they have seen. Sometimes those "others" are previous posters; sometimes they are published critics. So long as the emphasis is on the topic at hand (what I, the poster, have seen and how I analyze and understand what I have seen), I'd like to think we could all have a little leeway to bring in the occasional outside references. But then, of course, I'm not in charge! No ballet viewer watches from a vacuum. Just as I take to each performance the views and opinions I have read here, so I am also informed by what I have read in the pages of the Times. These are all inevitable parts of what Helene, in "Why This Forum Exists," refers to as "the point of view of the audience."

Because boards rarely fire the boring and uninspired?

I'm not sure how you can say no new star dancers have been cultivated from within ABT in recent years. Gomes, Hallberg and Murphy each came up through the ABT ranks in recent years. Although Herman Cornejo came in as a soloist, I regard him as having been primarily cultivated at ABT. Each of the above listed dancers is a star, in my opinion. There are also several promising soloists. This has occurred under McKenzie's tenure. Note that Amour wrote "No new star dancers are being cultivated," though -- an observation in line with many of the views expressed on the "ABT's Male Principal Problem" thread.

Very sorry. It's at times difficult to disentangle the two, given that we see as much through others as through our own eyes (as these forums themselves attest). To clarify, the thrust of my comment was to solicit others' impressions of what they had seen in Simkin's dancing on that or other nights.

Honestly, I often suspect that Macaulay must feel the need to temper a positive comment with something negative and so he relies on vague phrases such as this. I felt this with the Swan Lake article, when he called Part's dancing "monotonous." I understand he's working with limited space, but he could often do more to make himself clear. Perhaps, though, someone on here can explain what he meant about Simkin, if they're seeing whatever he's seeing. Personally, I thought the only thing wrong with the Bluebird pdd was the partnering; individually, Simkin and Lane both looked fantastic to my eyes.

I look forward to that turnaround -- Veronika deserves the attention! I agree with all that you say about Tuesday's performance, and last year's. She was solid on Tuesday, for the most part (a slip here and there), and there were some typically gorgeous moments, but you could tell at times that she was getting through it; last year she seemed fully absorbed in the role. She definitely still has her off nights. Still, I'll see her on an off night, fully recognize all the problems, and yet still find it completely worth it for those moments of breathtaking gorgeousness. I thought that Macaulay very fairly captured that experience in his description. Renata Pavam, IMO, was the standout among the fairies, at least in Act I. Simkin and Lane looked great, apart from the partnering problems. This is the best I've seen her in awhile. The company as a whole, though -- as you said -- looked low on energy, even sloppy and uninspired. I'd be willing to chalk it up, as you do, to the end of a long season, but I feel they've looked like this, off and on, all season long. At least, by now, the main problem with SB seems to be just the physical production: sets and costumes, etc. Other than that interminable opening to Act I (the death sentences, pleas, exonerations, etc.), the staging seems to work.

Yes, but it's all rather silly, isn't it? The whole framing conflict hinges on a forgotten party invitation, and too much of the evening is spent with fair maidens swooning over spindles.

I have a very odd story to report from tonight's performance. After a very solid Rose Adagio by Veronika, a man walked briskly down the left orchestra aisle carrying a bouquet of red roses and shouting "brava!" He was stopped about ten feet from the orchestra pit by an usher, but he clearly wanted to throw the flowers onto the stage. The man became very upset and threw the flowers at the usher's feet. The man then stalked back up the aisle, muttering angrily to audience members around him. The usher picked up the bouquet and followed him out. It was crazy! More to come on the performance later...

Yeah, I love how he always complains that ABT audiences are suckers for athletic feats, going ga-ga over fouettes, etc. -- but this once when it serves his "argument" he decides to interpret those gasps as "not because of its virtuosity but because of its unexpected rightness." Give me a break.

I completely agree with this -- and let's not forget that just because a company does story ballets doesn't mean there have to be so few opportunities for corps members and soloists to have great stage time. Many of ABT's story ballet productions seem unnecessarily light on actual classical dance. I was just watching the 1980 Royal Ballet Swan Lake, for instance, which uses much of the original pas de six music in Act III (they do it as a pas de quatre) but has considerably less junky corps filler in Act I. Some great opportunities there to showcase more solo dancers in variations, rather than having such a huge gap between principals on the one hand and national dancers / character roles / general peasants and aristocrats / swamp monsters on the other hand.

As a teacher, I can totally sympathize with the groans and shudders a suggestion like this would provoke among the creative team -- it's generally important not to let such work become too "democratic," to maintain a certain professional integrity and creative control. On the other hand, such a relatively closed system depends upon a certain degree of excellence or at least competence among those "in control" (whether they be teachers and school administrators, or choreographers and artistic directors). Unfortunately, based on the results in recent years (in terms of both roster and repertoire), I just don't have much faith that Kevin McKenzie possesses the degree of excellence that ABT truly deserves, and that its audiences are justified in expecting.

There are certain moments in performance that make my gut clench up in anxiety -- e.g. David's lifts, Veronika's supported pirouettes, anybody's Rose Adagio.

David has a history of shoulder problems, though, and so many of the lifts in that performance were quite precarious. (At one point he actually had to thrust his chest against Veronika to get her up into the air!) They make a beautiful pair, but I fear we'll never see them again for this reason. David does better with smaller partners. I wholeheartedly agree with the above poster that Swan Lake and Bayadere are two ballets where Veronika really shines. She was lovely in The Nutcracker as well. (There's a nice video on YouTube of a Works & Process event with Veronika dancing some of Ratmansky's coreography.)

Over the past several years, and increasingly so this year, I’ve been troubled by a confluence of problems the company seems to be having, both in roster and repertoire. With so many absences and injuries, with so many guest artists (bringing many remarkable performances), and with so many nights this season seeming marred by a lack of engagement and cohesion on the part of the corps, the company seems increasingly in danger of losing its focus and its center as a true company. The lack (in my opinion) of a truly exceptional and exciting repertoire to showcase its artists is of equal concern, and the two sets of problems together have made me increasingly worried about the state of ABT. So, I’d like to start a parallel discussion to the ABT principal problem—one about the inconsistent quality of new “story ballet” productions initiated in the McKenzie years (beginning in 1992). An emphasis on these ballets, at least in its spring Met seasons, is after all one thing that sets ABT apart as a New York company. While we may all have our problems with many of the pronouncements of Mr. Macaulay, I can’t help but feel he has a point in so often remarking on how ABT’s productions do a disservice to its artists and its audiences. Below is a (possibly incomplete) list of story ballet productions McKenzie has introduced at ABT during his tenure. (A complete list of ABT repertoire appears at http://www.abt.org/education/archive/index.html, so please add to this list if you find others I have missed.) I’ve included my brief impressions of many of these, along with occasional comments from critics. Some I have not seen and therefore list without comment. McKenzie can be credited with bringing several important ballets not often available to NY audiences — e.g. Manon, Corsaire, The Dream, Sylvia, Raymonda — and some of these are indeed among the more satisfying and successful in this list. I find it difficult, though, to look at what’s here and feel that he has moved this company in an overall positive direction. Certainly, his own productions — Swan Lake and The Sleeping Beauty in particular — are widely felt by many on this forum, as well as by many critics, bloggers, dance writers, etc., to be lacking in dramatic vision and artistic weight. I would love to hear others’ thoughts on any aspect of this topic. The Nutcracker (chor. by Kevin McKenzie, 1993) Manon (chor. by MacMillan, 1974; ABT premiere, 1993): a perfectly nice, traditional staging. Though not as famous as R&J, it provides fantastic dramatic opportunities for lyrical dancers such as Ferri and Vishneva. The Merry Widow (chor. by Ronald Hynd, 1976; ABT premiere, 1997): This felt like frothy filler when it was revived for the 2008 Met season. Lots of skirts swishing around the stage. “A silly, antiquated concoction — and more a test of acting than of dancing” (Gia Kourlas, NYT, July 2008). Othello (chor. by Lar Lubovitch, 1997): Awful plexi-glass sets, an uninspired score, and overwrought choreography. To quote Gia Kourlas’s review of the 2007 revival: “And the drama — because so much of the movement is simplistic and repetitive — is fraught with histrionics. Writhing on the floor is a common sight, leading to the biggest frustration of all: Othello gives modern dance a bad (as in dull) name.” Le Corsaire (ABT premiere, 1998): The production has a bit of a cheap and cheesy look to it, but it’s really all about the campy, over-the-top dancing anyways. A great showcase for the once-impressive roster of male dancers at ABT. The Snow Maiden (chor. by Ben Stevenson, 1998): A lavish, $1.2 million vehicle for Nina Ananiashvili that has not been seen on the Met’s stage since 1999. Swan Lake (chor. by Kevin McKenzie after Petipa and Ivonov, 2000): Has some nice, innovative touches, like the ‘sexy Rothbart’ variation in Act III. Chief among its faults is the truncated fourth act, which has been mentioned several times this year. The Pied Piper (chor. by David Parsons, 2001): Most people are probably hoping this will never be seen again on the Met’s stage. Onegin (chor. by John Cranko, 1965; ABT premiere, 2001) The Dream (chor. by Ashton, 1964; ABT company premiere, 2002): Along with Sylvia, this is one of the most beautiful productions to enter the repertoire in the last decade, and one that really brings the company to life (on the corps, soloist, and principal levels). La Fille Mal Gardée (chor. by Ashton, 1960, ABT company premiere, 2002) Raymonda (2004): There is probably no way to make this a dramatically compelling ballet, but the score, choreography, and sets/costumes were all lovely. Perhaps overdue for a revival? Sylvia (chor. by Ashton, 1952; co-production by ABT, Royal Ballet, 2005): A beautiful production that lovingly preserves Ashton’s choreography. One of the best productions from McKenzie’s tenure. A great vehicle for some of ABT’s ‘home team’ ballerinas, such as Gillian, Michele, and Paloma. Cinderella (chor. by James Kudelka, 2006): A dreary, unmagical ballet. One only wonders what Ratmansky, with his impressive story-telling skills, could do with the Prokofiev score. The Sleeping Beauty (staged by Kevin McKenzie, Gelsey Kirkland and Michael Chernov, 2007): The word used most often to describe this production is “silly.” The garish costumes and Disneyesque sets do not help. Lady of the Camellias (chor. by John Neumeier, 1978; entered ABT’s repertoire in 2010): A maudlin mess. Claudia la Rocco expressed it best in her review this summer, “the audience member driven to despair by the inanity before her is reduced to trivial entertainments like counting the number of times Armand Duval, the ballet’s petulant leading man, casts himself to the ground in a fit of something or other.” The Nutcracker (chor. by Alexei Ratmansky, 2010): ABT managed to produce a vivid, distinct version of this beloved ballet, which I hope will return to BAM for many years to come. The production was for the most part elegant and understated, with a few kinks that could perhaps be worked out. The Bright Stream (chor. by Alexei Ratmansky, 2003; ABT premiere, 2011): a fun, rollicking ballet that provides ample displays of classical technique. The sets and Communist-chic costumes are quite stylish.

McKenzie needs to do something about his roster period. Looking at the list of principals, it's absurd. Maxim, Roberto, Angel and Ethan never or hardly ever dance; Diana only danced a few times this year; Jose and Michele are leaving. That leaves a total of ten reliable principals: 4 men and 6 women. Between these numbers and the corps' work this season, this is starting to seem like a non-company. It's very upsetting. Veronika and Cory looked great last night, by the way. Not a superb performance (theirs last year was fantastic), but solid and beautiful. More later, perhaps.

The barely existent beats at the beginning of the Odette variation were just one example of how lacking in musicality Gillian's performance was last night. I was quite disappointed, as I've noticed that in recent years she has in fact become a more musical and emotional dancer. (I recall a superb performance of The Dream last year, as well as an Other Dances with Hallberg.) Alas, much of last night looked like the Gillian of years past. The black swan variation in particular was the performance more of an athlete than a dancer. Despite some hearty bravas, the audience response seemed to reflect this: at an earlier point, the applause died down more quickly than usual, and more quickly than she expected, leaving her to take an embarrassing second bow to which the audience then had to respond. Even the fouettes seemed far from her best; personally, I did not count a quad but only 2 or 3 triples, and she travelled across nearly half the stage. Also several years ago she had added some rather astonishing swan arms to her fouettes, but these too were gone. Her characterization in Act III consisted of much awkward jerking, particularly when David crossed their arms across her chest, and when she raised her arm to prevent his approach. The impression I got was of a harsh, gruff Odile -- not nearly seductive enough.