LIslandArts

Yes he did! Part of the reason I wanted to attend today, as well as seeing Frenette & Lall in Pas de Trois once again.

Was anybody in attendance for today’s show? I was hoping to see the show one more time, but I’ve come down with the flu. Rats!

I attended tonight’s show—Seo/Stearns, Sebastian for Von Rothbart, McBride Lall and Frenette for the pas de trois. A marvelous show all around, as I was grateful to watch ABT at the Kennedy Center after these unpleasantries with their contract negations & AGMA. The company seems rejuvenated and fresh from the last time I saw Swan Lake at the Met. The corps was precise and the character dances in the third act were particularly better. More vigor and prominence. Stearns was noble and princely as ever, Seo was the pristine swan queen she always has been (though her Black Swan will always be a tad weaker than other ABT ballerinas). Being said, it’s no overstatement when I say tonight’s show belongs to Frenette. His Benno continues to improve every time I see him. His partnering of his ladies Betsy & Erica (a beautiful pairing! Natural radiance and lovely technique) reminded me of a young Robert Hill. This man is a PRINCE, one of true quality this company has been missing. Nothing held him back, and the stage itself belonged to him every time he graced it. My guest & I were in awe during the intermission, and many others as well. His promotion to soloist has been long overdue, but I dare say tonight he earned his eventual principal spot as well. I have not seen Takumi Miyake live before, only recently discovering him from a trending video of his Royal Ballet School showcase of Raymonda. Another exemplary young man in the company! Susan Jaffe certainly has her hands full of talent, and I only hope she manages them better than Kevin did. Also, I find the stark white of the ladies’ swan tutus to be off putting and too cold. There are many warm tones and hues to Zack Brown’s production and the cold stark white doesn’t fit. Are these new costumes, or my deteriorating eyesight?! Needless to say it was a fantastic evening and I look very forward to seeing the company in a few weeks in Costa Mesa.

IMO Robare is too young and too green. His time may come, but better Camargo performs all the shows. I for one would much prefer Curley whose already proven himself principal quality. I attended the shows Saturday night and Sunday. Whiteside post surgery found his stride and danced quite strong opposite Boylston in Ballet Imperial. I felt her trying to out-Balanchine NYCB at times! In contrast, Royal III and Shevchenko seemed miscast in this one. Royal is far too weak a technician (I believe this was mentioned before) for the leading male role, and Shevchenko is too structured. The ebb and flows of the Tchaikovsky score requires a tad more fluidity. Still, she delivered a solid show albeit a reserved one. Even still, I kept hoping Frenette or Han would jump in to replace Royal as the two most capable men onstage in this ballet. Needless to say Misseldine marveled me as much as everyone who said so as well. We have a new Semionova on our hands and I can only dream in anticipation of her approaches for the great ballets; Swan Lake, Giselle, Manon…what’s next? The Dream did not do it for me this time around. I enjoyed it more the previous fall, but I found these performances lacking a certain otherworldly element. It is a fantasy, something only Roxander could properly portray. On top of his exemplary virtuoso technique, he’s a storyteller. Still, I miss the days of withessing Ethan Stiefel commanding each leap and turn with prominence. I’d say the Sunday show belongs to Misseldine, Frenette, and Han for delivering a solid trio Balanchine would be proud of. I still remember John Gardner dancing this opposite Cheryl Yeager (gosh I hope I’m not showing my age too much!)

I found Boylston to be the more well rounded and expressive Juliet, however Hurlin’s lines and musicality were uncanny. Some of Hurlin’s mannerism and character choices seemed too sassy for my taste, yet not so much that would detract from her overall wonderful show. I’m confident her Juliet will only grow from here—this is her first year. I’m also delighted Boylston finally had a substantial and stable partner in Camargo. Watching her dance with vastly shorter men and inferior partners over the years was dreadful.

Frenette was once again nothing short of astounding in last night’s show alongside Camargo/Boylston/Klein. Also I discovered from FB that he had TWO shows of Benvolio, back to back? Originally my program had Han listed (anyone know what happened? I hope he is okay) but the announcer mentioned Frenette instead. No complaints here, his chemistry with the cast and characters somehow improved from when I last saw him do this at the Kennedy Center. I truly believe he has some of the best jumps amongst the men in the company. Jonathan Klein as well…my, my. What a fantabulous Mercutio he is. Prominence, elegance, gusto, and loads of charm. He had the Met wrapped around his finger last night and seemed to be having the time of his life. He and Frenette had been sitting in the corps for far too long and seeing them both seize their opportunities was inspired. We all love the new kids like Roxander—and for obvious reasons!—however Klein and Frenette reminded everyone in that show last night they are forced to be reckoned with, no matter how long they’ve had to wait. This was my last show of the season, I must say this felt like a homecoming for Ballet Theatre. Passing by the stage door on a Wednesday used to leave me fearful for the longevity of this company at the Met, but all the budding fans and students lined up showed me this company has new life. I believe with Jaffe at the helm we are on the cusp of a golden age for this company.

Today’s matinee solidified my earlier point about Frenette and Curley. Those two men alone could lead the company into a golden age of bravura technique and bravura excellence. Even with Frenette’s slight fumble in the first act variation, I haven’t seen him dance stronger or calmer. He’s grown immensely since last year, when he debuted with apparent higher nerves and was much more reserved. His last circle left myself and my friends speechless. Somehow he made the Met look small! He and his ladies Remy Young and Sierra Armstrong delivered a class act pas de trois—strongest of the first three shows without a doubt. They were DANCING (isn’t that what this is all about?) Nothing held back and each dancer was emanating pure joy. Curley was proud and intimidating throughout. He seems much more in his element playing the bad guy than before. Clean, precise, and musical would best describe his solo in the third act today. His dismissal of the princesses at the end was a very appropriate comical touch. This is an Onegin in the making, folks. I am however quite disappointed with the swan corps this year. Formations were off, musicality was all but forsaken, and I can’t help but feel like the women aren’t trying like they used to. Perhaps this is the danger of all these competition kids and medal winners finding themselves at the back of the swan line? I’m certain they’d all rather be Odette/Odile for the show but you must start somewhere. The character dances were rather bland today as well, minus Spanish which rose to the occasion. Lastly, anyone who had reservations about the Forster/Boylston partnership ended up missing quite a lovely show for the two principals. That’s all the SL this old soul can muster, I’ll be back for Romeo & Juliet.

I also watched today’s matinee with Trenary & Whiteside. I agree with those above when I say I’ll sit through a point-hop fumble to witness the sheer magnitude of Trenary’s performance. Her mad scene was haunting, raw, and devastating to watch. You could see her reality crumble with each phrase. Instead of the overdone and overcoached “no,no,no,no” with the flower, she lays still and quietly sobs. Plenty of great ABT ballerinas struggled with virtuoso steps before her; Julie, Misty, Stella, even Hee at times. Surely we can all share the same grace for miss Trenary. She is still young, she will only improve. Whiteside was a noble prince in immaculate form today. Lovely controlled jumps (and after such a horrifying injury too) exemplary partnering and prominent acting. Chloe’s Myrta sent chills down my spine, I hadn’t seen her perform this before. Patrick Frenette’s Hilarion was excellent today. Why isn’t this man a soloist?! He soared through the second act with desperation and pure fear. His first act is quite unique too—whereas other Hilarions play the scorned unrequited love, he truly flips the script on the viewer and makes Albrecht the real villain. Watching him crumble as Giselle laid lifeless was a sight to behold. Here’s hoping Susan Jaffe will look after his career better than Kevin McKenzie. The peasant pas was stable and clean with Maloney & Fleytoux. I haven’t seen much of her before, she’s quite lovely. I really enjoyed this pairing today. In response to point made earlier about the principal men who either act or dance, and not both—the future is in the corps. So many of these young men have been held back far too long now and could be fastrracked to principal. Jarod Curley, Frenette and, Carlos Gonzalez mostly.

Just saw the matinee showing of Water for Chocolate. It is a full-on theatrical extravaganza for certain! I see what the NYT article was saying, about the lack of actual dancing, and more focus on plot and storytelling. It gets quite slow at times, but the Campfire dance was the highlight of the show. So much noticeable talent onstage. Joowon and Devon were the principals, joined by a variety of soloists and fresh faced corps members getting some exciting opportunities. Ahn’s galant and noble nature turned Pedro into a proper gentleman, and Devon should be given an Oscar at this point! They’ve danced together many years now and their chemistry together only grows. Michael De la Nuez was a standout, though a little reserved for a leading revolutionary figure. From what I could gather in social media this was his debut so that’s understandable. He is one to watch very closely. Lovely proportions and lines. Zimmi Coker as Gertrudis was a shock of a casting choice, one I was pleasantly surprised by. As the rambunctious and saucy middle child she lit up the stage with confidence and clarity. Betsy McBride as the Eldest sister Rosaura pulled on everyone’s heartstrings, as you couldn’t help feel sorry for her. I saw her in Joshua Beamish’s Giselle a few weeks ago and couldn’t help but feel she transferred some of what she worked on into this role; notably for the better. Jarod Curley was a lovely Dr. John, one I could vividly see depicted in the books. I’m so used to seeing him as a domineering ferocious figure, like his Hilarion and Mithridates, yet today we were introduced to a softer side of his dancing. I wish Wheeldon had flushed out his character more. As someone mentioned before me, Dr. John is a bit forgettable, but no fault to Curley. He did the most with very little material. The octet of Ranch Workers have to be my favorite part of the show. They have some of the only consistent dancing material in the show, and each of them tear up the vast Met stage with vigor and passion. Patrick Frenette, Sung Woo Han (these two NEVER cease to impress me—2 of the company’s most capable men) Nathan Vendt, and Jake Roxander seemed a crew of brothers out there to have nothing but fun! And the lovely ladies Rachel Richardson, Kotomi Yamada, Erica Lall, and Yoon Jung Seo shined and shimmered in the campfire. You couldn’t help but feel the spirit of Mexico City rich in their bright blue costumes. The ballet itself is QUITE long, I feel like certain sections could be shorter or cut entirely. The flashback with Elena’s past is stale and unimaginative. It’s difficult to sympathize with such an abusive manipulative mother while a chair routine from Chicago ensues in the back of the stage! I enjoyed the show well enough but will probably not attend it again. In my opinion, Alexei’s Of Love and Rage is a much stronger ballet—based on the numerous dancing opportunities to enjoy, the musical composition (so much of Joby Talbot’s score repeats itself like a broken record) and Ratmansky’s ravishing choreography. I would be interested in Wheeldon making a brand new full length on ABT, hopefully something with a bit more movement! All in, it’s safe to say today’s show belonged to Ahn, Han, Frenette, Coker, and the exemplary cast of corps men who set the entire house ablaze in the campfire scene.

I was in attendance tonight (2/16) and OH MY what a show! Hurlin/Royal/Maloney were the principals, Patrick Frenette was Benvolio, Roman Zhurbin as Tybalt (the defining one of this generation) and Alexandra Basmagy delivered a heart wrenching Lady Capulet. Hurlin was jubilant & mesmerizing throughout. I’ll be honest I initially had my doubts about her Juliet because I’ve always seen her in bravura roles like Kitri & all the Ratmansky ballets. Yet she was surprisingly tender and lyrical—especially in the balcony and bedroom duets. Calvin’s Romeo has vastly improved since the Met. Perhaps this new director has brought some fresh guidance to the company, because I for one thought he was spot on tonight. I saw the galant & chivalrous nature of Robert Hill’s Romeo (a former leading male dancer with ABT) in his approach. Maloney was everything Mercutio was supposed to be—boyish, charming, ready to scrap at a moment’s notice. From having to pull out of his debut last season (shoulder injury) to this year, you’d never have figured this was his first show! His chemistry with his ladies and cast mates was genuine. Some jumps could have been a tad higher, but one can easily chalk it up to first show nerves & general fatigue. Only up from here. Frenette delivered quite possibly the most moving rendition of Benvolio I’ve seen in recent memory. The path he chose to put his character on from pure love of his friends to utter ruin and devastation (I could hear the sniffles and soft sobs from my seat…haunting) at the sight of Mercutio’s death. His technique and finesse was on full display tonight, and I can only hope a change in his status in the company comes soon—he and Maloney should have been promoted post show! I wish I could stay for more shows this week, but NY calls be back. I’m hoping to make it for Joffrey Ballet performing Possokhov’s “Anna Karenina” (it’ll be my first time seeing the Joffrey) P.S the Juliet friends were a highlight as well. Such promising young ladies with the most polished dancing.

Would like to respectfully add Connor Holloway of ABT uses They/Them pronouns. No shame, just want to make sure everyone can discuss this incredibly hilarious social media segment and its creator properly

Magbitang, Curley, & Misseldine were indeed in top form last night. There is another name worth mentioning in this forum—Patrick Frenette. He was truly undeniable in Sinfonietta on Friday night, soaring from wing to wing with precision and confidence. His musical phrasing and commanding presence is remarkable as is the speed at which he moves. In last night’s show of The Dream, he frantically avoided McBride’s numerous advances, until finally swooning for her during the famous Mendelssohn wedding march. He and Sung Woo Han (also lovely in Sinfonietta—why did they only have one show?) made a hilarious pairing as the quarreling men, yet seem wasted in supporting character roles. Both could certainly make promising Oberons. I first took note of Patrick as Benno in Swan Lake alongside Herman this past Met Season, and couldn’t believe he wasn’t a soloist. His bio says he joined as an apprentice in 2013, so it must be due soon. Hopefully Susan Jaffe will rectify this…it’s criminal it hasn’t happened sooner! I will be missing today’s matinee, and only wish this fall season could be longer. I miss the days ABT spent weeks at New York City Center. I still remember Gomes & Kent in Moor’s Pavane and many notable shows of old.