FauxPas

Regarding Patrick Frenette - I agree wholeheartedly on the deserving, handsome and princely.  Tall - I don't think so.  He is just about medium height and rather on the shorter side.

Jonathan Klein is also medium height.

Same issue with jake Roxander and Tyler Maloney, who both are on the shorter side.

Historically, Keven McKenzie had a preference for promoting tall male dancers (who resembled him in his dancing days).

Examples:  David Hallberg, Cory Stearns, Marcelo Gomes, Alexandre Hammoudi, Aran Bell.  Thomas Forster is also tall but took a long time to promote.

Herman Cornejo, the reigning senior short virtuoso, was held back too long due to his height and perceived inappropriate look for danseur noble roles.

Usually at this time of year we get an announcement of roster changes.

Don't the new contracts start in the Fall?  Wouldn't any new contracts include a change in company status?

We know that Gabe Stone-Shayer and Joseph Gorak aren't coming back.  Connor Holloway is leaving for destinations unknown to us.

I haven't seen any reports from dancers' social media announcing that they are moving on.

The loss of two soloists leaves room for at least two promotions if not more.

I think Jarod Curley, Jonathan Klein and Zimmi Coker are definitely ready.

Carlos Gonzalez, despite somewhat mixed responses, seems to be in the running.

Erica Lall has her admirers.  Jake Roxander is definitely soloist material already but only just started with the company.  

For others its more urgent.

Obviously, any announcements must be backed up by an official announcement by the company or announcements on artists' public-facing social media.

If Gabe Stone Shayer was informed back in December that his contract was not being renewed, that puts his op-ed piece in the New York Times (during ABT's Summer Met Season) in a wholly different light.  

1 minute ago, nanushka said:

I wonder if he conferred with Susan Jaffe before he published his own Times remarks. How much has he even been present since she took over, I wonder.

He has personally admitted that he has mostly been in Europe lately after walking out on the Fall Season last year.  I think that is in violation of his contract - both the walking out and the not being present for rehearsals, classes and performances.  

On 7/24/2023 at 3:47 PM, matilda said:

The Kourlas season review is out: https://www.nytimes.com/2023/07/24/arts/dance/american-ballet-theater-summer-season.html

It's revealed that Gabe Shayer and Connor Holloway are leaving the company, in addition to Gorak. 

Gabe has opened up on Instagram that he learned of his departure by reading the New York Times:

"I’m saddened by the recent announcement of my departure from the American Ballet Theatre after 12 years of dedication and hard work. It’s especially disappointing to learn of my own dismissal through the media without any effort to contact me personally. While I had hoped that the hiring of a new artistic director, and the publication of my NY Times op-ed piece, might signal a change, it is clear that there are still many hurdles to enacting meaningful progress in my industry. I thank everyone from the bottom of my heart for all the words of support that I’ve received since my experience was made public, and I can assure all of you that this is just the beginning of a new chapter in my story."

https://www.instagram.com/p/CvQNwKLAbei/?img_index=1

The article was printed several days ago.  This post was just put up on Instagram less than an hour ago.   

The commenters are all urging a discrimination lawsuit.  I suspect that ABT and their lawyers are prepared for that.  Shayer appeared on "See What Happens Live with Andy Cohen" this week as a guest bartender.

Two things I must mention.  Gabe was a guest bartender on "See What Happens Live with Andy Cohen" I think this past Wednesday night.  

https://www.instagram.com/p/CvM_m1sAT2y/?img_index=1

He also has not been rehired by American Ballet Theater and is "retired".  He states he was not informed by the company but read it in the New York Times.

https://www.instagram.com/p/CvQNwKLAbei/?img_index=1

"I’m saddened by the recent announcement of my departure from the American Ballet Theatre after 12 years of dedication and hard work. It’s especially disappointing to learn of my own dismissal through the media without any effort to contact me personally. While I had hoped that the hiring of a new artistic director, and the publication of my NY Times op-ed piece, might signal a change, it is clear that there are still many hurdles to enacting meaningful progress in my industry. I thank everyone from the bottom of my heart for all the words of support that I’ve received since my experience was made public, and I can assure all of you that this is just the beginning of a new chapter in my story."

The comments are all expressing outrage but I am wondering if Gabe was even attending classes or rehearsals at ABT and if it really is a surprise?

When I saw Trenary as Giselle at the Koch in 2021, I had problems with both her first and second acts.  The second act lacked ballon and lightness and Trenary's Giselle seemed still human, not a spirit.  I agree with NYSusan about the bratty, petulant and overly flirtatious first act.  I think people forget that by the mid-90's, the otherwise ideal Alessandra Ferri started to have technical difficulties with the hops on pointe and started canceling her Giselle performances at ABT.  Then there was the opposite problem with Paloma Herrera who could nail the diagonal of hops but was a flat, earthbound Giselle in Act II.  (Herrera improved a lot at her 2015 Giselle farewell, where nevertheless Roberto Bolle stole the show with an endless series of entrechats in Act II which required the music to repeat - probably my personal record for Albrecht entrechats!)  You can't always have everything.  But I too am surprised by Trenary's difficulties since she was so good as Aurora in "Sleeping Beauty" which is a very difficult classical ballerina role.  She is very intelligent.  Also Trenary is not a beginner, she has been with the company since 2011.

I think it is a shame that ABT has kind of abandoned its Antony Tudor repertoire since that is one place where Trenary could really shine - bringing humanity and psychology into ballet.  Like a latter day Nora Kaye.  Also her earthiness and charm would work well in DeMille ballets.  

I rather agree with Abatt that I found Murphy enjoyable as Giselle and her technique is still remarkable.  Agreed that she didn't cover much ground in the hops and stopped a little early but the rest of her Act I solo was impressive.  Her natural way of moving - sharp, clean, straight back and neck - is sort of antithetical to Romantic style but she still managed well.  Forster is a beautiful, if limited, danseur noble and his acting was very credible throughout, his partnering rock solid and his dancing clean and well-shaped.  The entrechats were high and tight but he ended them a little early - no shame there.  Overall he is beautiful to watch, if not a virtuoso.

I think Misseldine could profitably look at Devon Teuscher's port de bras as Myrta - her arm movements were so elegant and timed with the music.  Yes some of the arabesques were low and the penché turns stiff but Devon had a lot of style.

10 hours ago, angelica said:

Does anyone know what the shout was in the middle of the performance?

Right after the second act pas de deux some idiot shouted "Shevy!!" which is Shevchenko's nickname.  It sounded like something else.  Way to break the spell....

I saw Veronika Part in the plaza after the show surrounded by fans.

1 hour ago, bingham said:

 

 

WOW, FP, what an evaluation. It's almost like I have watched these performances. You're a treasure for people living away from NYC. I can't wait for your posts for the rest of the ABT season. Thank you.

Thank you! 😍 I am also looking forward to Christine Shevchenko and Calvin Royal tonight!  🤩

BTW: one small addition - the orchestra is playing well.  Back in the Kevin McKenzie era when the season started in mid-May and conflicted with the NYCB season, the orchestra in the first weeks of the season often sounded horrible with flat horns and harsh, out of tune strings, etc.  Lack of rehearsal.  Then a few weeks in, the orchestra would mysteriously improve coinciding with the NYCB musicians being off for the summer and taking freelance gigs!  Both the orchestra and corps are doing excellent work this season.

I think Misty and Herman could do "Other Dances" together.  Murphy probably will want to wait until the 2024 Met season and do a big farewell in a major warhorse ballet.

BTW: though I noticed a fall off in Herman's brisées in "Giselle" Act II, his solo was pristine and his partnering, dramatic insight and general artistry and elegance were to die for.  Obviously with over a decade of experience, Cornejo's dramatic interpretation was more consistent and convincing than Bell's Albrecht or even the histrionically gifted Camargo's. 

I can deal with a slightly diminished Herman for another season or two if he still has so much to give.  I also feel that the reactions to Skylar Brandt's Giselle are a little harsh.

Teuscher and Hurlin were both fine Giselles but clearly works in progress.  In fact, I felt (without dismissing her overall excellent achievement) that Hurlin's Giselle was still somewhat surface.  In that she had all the details in place (some of them striking like her wild animal chase through the assorted villagers in Act I's mad scene) but not much inner life and a rather unspecific interpretation of the role.  Is Giselle a fragile waif or a robust hearty village girl who loves to dance more than life itself?   Hurlin has a slender tallish elongated physique that creates beautiful lines with a lot of muscular strength for bravura dancing.  She has a big, expansive jump which is a big plus in Act II.  But I felt she hadn't yet found the phrasing or shaping in Act II to create indelible images.  However, overall I really enjoyed her dancing and am excited to think of her potential and where she will go in the role.  Teuscher has limited flexibility in her back and hips but was coached beautifully to disguise these flaws or minimize them.  Her hops were solid if off the music in her Act I Spessivtseva solo.  (Hurlin was also solid and even rotated the raised leg from the knee). 

But it was Teuscher's Act II I found quite moving and artistically satisfying.  Her serene but determined face showed that Giselle chose love and forgiveness over vengeance and was determined to save Albrecht.  Her Act II Giselle radiated spiritual strength.  Neither ballerina is particularly good at projecting physical frailty - both have previously danced impressive Myrtas (I have never seen Hurlin as Myrta, Teuscher several times).

Aran Bell danced so well and looked so beautiful onstage that I overlooked a somewhat undeveloped dramatic interpretation in Act I.  He seemed sincere, that was enough.  In Act II his dancing carried the day.  Camargo also seemed to lean into the Latin playboy Albrecht interpretation but not excessively.  He seemed more an impetuous young man in love.  I didn't find his chemistry with Hurlin that strong and his final despair at Giselle's death seemed a little superficial to me.  Camargo's Act II had a lot of emotion and his connection to Hurlin's Giselle seemed stronger.  I was delighted with his strong classical technique in Act II.  I was sitting close enough to see faces and expressions.  One potential complaint is that Camargo had his mouth open very often while dancing.  It was a plus in his heartbroken staggering from Giselle's grave just before the final curtain because he looked totally lost in emotional shock with his mouth agape.  Still it is something for his coaches to watch for.  He is an extremely handsome man and a natural actor.

I was impressed with Fanqi Li's Myrta which is a debut and I felt that it was a very, VERY good start.  Misseldine started somewhat tentatively on Tuesday afternoon with a lack of authority and some awkward transitions in her entrance and opening solo but her solo in the Wili ensemble picked up momentum.  On Wednesday night, Misseldine had more authority (and speed) right from the beginning and seemed well on her way to being a great Myrta.  I believe Veronika Part hasn't danced in several years, so wishing her up there onstage is a lovely but impracticable dream.  I will be excited to see Misseldine develop in the role - her future definitely seems bright!

Skylar Brandt's Giselle was the most dramatically worked out and seemingly delicate and childlike.  However, she is an incredibly strong dancer - so that tension between delicate fragility and technical strength was central to her interpretation and part of its magic.  Act II has some very basic looking choreography that is actually horrifyingly exposed and difficult to execute smoothly.  For example in Giselle's Act II solos she has exposed slow developpées where the leg has to rise but with no shifts in the hip or wobbles.  Brandt's working leg looked detached from her pelvis and rose smoothly with no break or wobble creating exactly the right effect.   Also, Brandt had more of the Romantic dancing style than Hurlin or Teuscher with beautifully curved arms and back and neck, creating the iconic images in the grand pas de deux.  Cornejo was 250% backing her up and creating the magic with her.

Obviously, Brandt has the most experience in the role of Giselle, so her interpretation was more worked out and detailed.  Perhaps it may be leaning towards over sophistication or calculation at this point but it did not cross the line into affectation or phoniness.  Overall, I felt that Wednesday night was on a whole other level above what I saw the previous two afternoons.  I found the Brandt/Cornejo pairing comparable to the Vishneva/Malakhov, Vishneva/Gomes or Osipova/Hallberg performances.

Zimmi Coker danced wonderfully as Zulma on Wednesday afternoon and enchanted in the Peasant PDD on Wednesday night - add my voice to the chorus advocating for her promotion to soloist.  Jake Roxander was jaw-dropping in the male peasant variations - give him more, More, MORE!  Sunmi Park on Tuesday afternoon was airy and delicate in the female peasant variations and lit up the stage.  Also I was impressed with the artistry and presence of Jarod Curley as Hilarion.

BTW: the corps looked very polished and overall "Giselle" is one of ABT's strongest classical productions.  I enjoyed all three performances very much.

One thing about some of the older soloists and principals hanging on:  Susan Jaffe danced with some of these people when she was a ballerina with the company but even more she worked with them and was invested in their development when she was a ballet mistress with the company.  Even as director, I am sure Jaffe is still doing coaching and supervising rehearsals.  That is a plus.  Kevin McKenzie was in the audience on Wednesday afternoon for the Hurlin debut, this is his production of "Giselle" and I would suppose he was assisting with rehearsals for this revival.  So I wouldn't expect dramatic overnight change.  The recognition, promotion and exposure of promising new very young dancers is a welcome change.

Per Carlos Gonzalez's Instagram page, he and Breanne Granlund are dancing the Peasant PDD tonight and Thursday night.

Rehearsal footage here: https://www.instagram.com/p/CuP49UUNmuC/?hl=en

I think Mr. Gonzalez will get a promotion before the summer is over.

1 hour ago, Golden Idol said:

Astonished ABT is not offering anything on TDF. For tonight and tomorrow's performances, the Orch is well sold (or perhaps papered) but other levels? Lots of available seats. Giselle, almost the same thing. Once again, they're shooting themselves in the slipper.

TDF had "Like Water for Chocolate" up two different times and it sold out.  They also offered "Giselle" for most performances and several "Romeo and Juliet" shows.  Nothing from ABT is up now.  "Swan Lake" is selling well and wasn't offered.  I want to see the Hurlin and Brandt Odette/Odile performances.

I must also mention that they have daily rush tickets available:  https://www.metopera.org/Season/Tickets/Rush-Page/

I went to yesterday's matinee of "Like Water for Chocolate" with the Trenary/Cornejo/Seo/Hurlin/Davison (replacing Shevchenko)/Forster/Paris cast.

What I have to say is that I think LWFC is more dance theater than classical dance, though it was choreographed for top classical ballet companies.

It reminded me more of something like Twyla Tharp's "Movin' Out", the Eifman ballet and even Matthew Bourne's shows.  Wheeldon is very dramatic here but a lot of the story is shown not just in pantomime but also dramatic tableau - visual arrangements and symbolic images that tell the story.  I think it is done VERY well but it is the opposite of what Petipa or Balanchine called ballet.  Even Grigorovich and his Soviet "Drambalet" uses more classical vocabulary and ballet steps to develop character and relationships in extended dance episodes.

Frankly I found most of the pointe work ornamental and think that a company like Ballet Hispanico or Alvin Ailey could do this work on demi-pointe and nothing would be lost.

Only in Act II with the characters of Gertrudis and Juan did we get some bravura ballet dancing (excitingly performed by Carlos Gonzalez and especially Catherine Hurlin).  But that again seemed mainly ornamental, not intrinsic.

However, much of the theatrical tableaux were thrilling including the finale.  But again I think most of us Ballet Talk members want to see the dancers - especially the superb Trenary and Cornejo - set the stage on fire with brilliant choreography and dazzling combinations and lifts (there were lifts but cribbed from Cranko and MacMillian R&J, etc.) rather than beautifully done projections and stage effects.  Wheeldon choreographed these roles on Francesca Hayward and Marcelino Sambé, both very virtuosic dancers.  The characters of Tita and Pedro are the center of the story could have done more throughout.  A lot of other characters had to have their stories kept in diluting the central narrative - always a danger in adapting a long, episodic novel to the stage.

I have to praise Wheeldon for his acting direction - Hee Seo who is usually mild was truly demonic as Rosaura tormenting her daughter in the last act.  Trenary's face was a mirror reflecting the soul of her character and her face and body projected all the subtle and profound changes in her character.  Cassie was deeply sympathetic and compelling. I wasn't bored by her extended mime scenes AT ALL.  And I could go on - the abandoned Cate Hurlin, the noble self-effacing but heartbreaking Tom Forster.  All the acting performances were specific, telling, full of significant pose and gesture and highly theatrical.  Only Claire Davison as Mama Elena was lacking in force though often elegant and intriguing to watch.

There was also beautiful design full of variety and imagination.  I enjoyed Joby Talbot's Mexican flavored score which I didn't think I would.  I thought they should have used Mexican music or a Mexican composer's commissioned score.

But my ultimate takeway is that "Like Water for Chocolate" is for a Broadway or City Center modern dance crowd.  Not the hard core ballet group.  The production would actually fit perfectly on the City Center stage.  Many of those who loved it - including a friend I spoke to - liked it because it was NOT "too ballet" but more theatrical and spectacle driven.  Another friend who saw it last week is a Broadway and opera person and loved it too.  

Here he is dancing "Le Corsaire" at the Vaganova Ballet Academy Graduation Recital.  His partner is Maria Koshkareva.  He is wonderfully aerial and refined with so much ballon.  He is not fully developed but such beauty already:

His solos:

Some background on Taiga here:  https://www.oxfordmail.co.uk/news/19421203.bicester-dancer-needs-help-funding-training-vaganova-ballet-academy/

His instagram with much clips:  https://www.instagram.com/kodamapomfret_taiga/

His YouTube channel: https://www.youtube.com/@taigakodamapomfret

He danced at the 14th International Ballet Competition in Moscow dancing all the usual bravura male solos last year (Don Q, Flames of Paris, Solor in Bayadere, etc.) - he is better now:

Some study guides.  

https://static.roh.org.uk/productions/like-water-for-chocolate-by-christopher-wheeldon/LWFC+Synopsis+PDF+FINAL.pdf

The recipes can be found here along with other information about the book:  https://n3onx13.wixsite.com/h2o4choc/recipes

Cory has a Prince Siegfried with partner Devon Teuscher on July 14 ("A Special Evening for Susan Jaffe") and a Romeo with Hee Seo on July 20th in addition to the opening night "Giselle" with Seo on July 3rd.

Jaffe must like him and Teuscher to choose their SL for her personal gala.

ABT used to do their Summer season at the NY State Theater (now Koch...🤢) as evidenced by the tapings of "Swan Lake" with Makarova and Nagy and "Giselle" with Misha and Natasha filmed in 1976 and 1977.  

The Metropolitan Opera can't lease the Opera House extending the ABT residency further into July and August since they use the theater during the summer to construct and test the scenery for the new productions premiering the next season.  They need those months for tech and lighting design rehearsals before the opera season opens in the Fall.  

I think that maybe only a few ballets should be done at the Met and then use the former NY State Theater for the majority of the season.  Like an 8 week season after the NYCB closes up shop starting earlier in May at the State Theater.

Also the Met is shutting down in January and February and maybe they could book a two or three week season during that shut down period.

Also what happened to their City Center engagements?  That would be great.

5 hours ago, matilda said:

Last run of Corsaire (2019) they recruited Brooklyn Mack for Conrad and Simkin for Ali. Bayadere was scheduled for the cancelled 2020 season. From what I remember, Kimin Kim and Olga Smirnova were supposed to appear as guests. Boylston and Seo got Nikiyas (of course), maybe Teuscher too. I think Murphy, Trenary, and Hurlin got Gamzattis. Bell was supposed to debut Solor. I don't remember the rest. 

There are enough qualified principal women for both of those ballets (Shevchenko, Brandt, and Hurlin would be my top picks) but they would probably have to get some guest men from elsewhere to fill a whole week. Stearns and Whiteside can't be relied on for those kinds of ballets at this point in their careers, and they were never ideal for them anyway. Not that Corsaire of Bayadere will come back soon.

Le Corsaire was the ballet where I "discovered" Shevchenko. She blew me away. I immediately bought a ticket to her Swan Lake afterwards and wasn't disappointed. 

Another loss for the company was Jeffrey Cirio. He was wonderful in the ENB Giselle when it came to Brooklyn last summer. 

The last full run of Corsaire in 2019 also saw the debut of POB étoile Matthias Heymann as Conrad as guest artist.  The days of the "Dream Team" are long gone.  Kimin Kim would be a wonderful guest artist in "Corsaire" and has guested in "Bayadere" as has Vladimir Shklyarov.  Now that the iron curtain is back up around Russia and Russian artists, guest artists from the Mariinsky and Bolshoi are verboten.  Olga Smirnova though can come back any time and I hope will.

By the way, much as we are lamenting the banishment of "La Bayadere" and "Le Corsaire" from the repertory - do we really think the current roster of dancers could sustain a full week of those ballets?  The version of "Corsaire" by Anne-Marie Holmes adapted from staging by Konstantin Sergeyev after Petipa has three bravura male lead roles - Conrad, Ali, Lankendem plus the more character dancer Birbanto.  Cornejo was wonderful back in the recent day but is over 40 now.  Camargo would make a fine Conrad and may dance Ali as well.  Certainly Aran Bell is promising.  Also how about ballerinas for the roles of Nikiya and Gamzatti in "Bayadere"?  Schevchenko has been a fine Gamzatti and could be a gorgeous Nikiya.  I wonder if the one-act "Kingdom of the Shades" is exempt from being culturally insensitive?  That used to be programmed often as a standalone work and could work for few ballerinas in the company like Schevchenko.

I have said it before, but if I was looking to bring in coaches in to ABT - Max and Irina would be it.  Now Irina is busy with acting but Max certainly has the time to come in full time.

However, Max and Irina left ABT with a sour taste in their mouths about the company. 

I don't know what kind of relationship Max and Irina have with Susan Jaffe but their professional relationship with Kevin McKenzie was over.  I didn't get a sense Irina wanted to go back to work for him or ABT.

It would be wonderful for everyone if money could be found and the spirit of cooperation to bring Max and Irina in as official coaches with the company so no dancer had to pay to get the help and training they need.

My feeling about Teuscher as Juliet is that she is also rather tall, mature and womanly to be playing an adolescent on the cusp of teenaged.  And they kept Sarah Lane away from that dream role even after she coached it with Alessandra Ferri using grant money she had been awarded...  Also this is another situation where a dancer I like - Aran Bell - is paired with a partner I think is miscast or isn't to my taste.  For example, I want to see Aran Bell as Siegfried but he is paired with Hee Seo.

I think that first ABT needs to rehire Daniil Simkin.  Xander Parish was not universally well-regarded when he toured with the Mariinsky and he is also pushing 40 (37 years-old).  Jacopo Tissi is a better bet being 28 but he seems happy at La Scala.  Let him come as a guest but maybe after a few of the home team get injured?  I think Francois Alu would be interesting to see but he is kind of beefy and bald and unconventional.  I was very taken with the American born conductor Gavriel Heine (New Jersey native!) and would love to see him come on as a staff conductor at ABT.  I have been raving about Joseph Gatti but he has shown no interest in being part of a big ballet company and is not young and is sort of demi-caractere.  It is too late for Fabrice Calmels who is over forty now and is moving into business in the tech industry.

On 5/22/2023 at 5:04 PM, cobweb said:

 

Thank you for your critique of the principal roster, FauxPas! I look forward to hearing your analysis of the soloists. Perhaps also any corps that you find noteworthy?

There is a lot of talent coming up in the ranks.  Soloist slots opened up because three or four years ago Kevin McKenzie promoted a bunch of long time soloists (few of them that young) to principal.  I think we can all agree that some of them should have remained soloists.  Then the pandemic hit and everyone's career was put on hold - for two years.  Not good if you are a new principal or soloist who waited over ten years and is now sitting on your tuchus watching the time go by and opportunities lost in what is a very short career.  Everyone has been negatively impacted by the sudden promotions out of nowhere with little experience or coaching behind them as well as the enforced hiatus.  Also the lack of decent coaching is a continuing, egregious problem at ABT and it impacts everyone at every level of the company.

Female Soloists:

Breanne Granlund:  Promoted last season.  What I saw of her I liked a lot.  She shows intelligence and sensitivity and could be another versatile all-rounder as competent in Petipa as Tharp, Tudor, et al.  Too soon to make any solid judgments but she got off to a good start, got herself noticed and I hope she keeps going in the same direction.

Chloe Misseldine:  I see the star quality.  I am glad they moved FAST on her since, face it, new talent and blood is DESPERATELY needed.  I think Chloe came along at the right time.  She is the type and she has the support from ABT and her mother to make good on her promise quickly.

SunMi Park:  She is definitely a bright light onstage and her technique is excellent.  Again she got promoted practically immediately after joining the corps.  I am glad to see some people move quickly up ranks rather than stall permanently in the corps - I think we can name many we wish had been promoted quicker and given opportunities who just faded away.  Or into other avenues like Gemma Bond.

Zhong-Jing Fang:  We were all raving about Fang two decades ago.  She was given a shot in "Symphonic Variations" and was exquisite.  Then she was stalled in the corps going nowhere for over a decade.  Then time, injuries and promotions left open slots unfilled at the soloist level and Fang was one of the few with the goods to step in.  And she was as lovely as we all knew she would be who had been following her for years.  However, it was late.  She also took time off to have a baby.  As the Queen of the Dryads in "Don Quixote" she struggled with the Italian fouettés.  They waited too long - too busy keeping Stella Abrera back and pushing Hee Seo forward.  I wish Fang would get one Giselle before she is retired but that may be a ship that sailed as well.  Give her a year or two and then let her decide when to leave.

Betsy McBride:  Betsy was a principal dancer at Texas Ballet Theater until 2015, when she joined ABT in the corps.   She has a bright personality, some stage presence and solid technique.  Not sure if she is principal material but she is a very positive presence in the company.  Keep shining that light.

Katherine Williams:  A lovely dancer with not a lot of personality but a beautiful technique.  Rather reliable and capable.  Probably not principal material but I am always pleased to see her name in the program.

Luciana Paris:  Over 40, also had a kid.  Hasn't been dancing on pointe much last few seasons.  Looked dreadful last season when she was put on in a classical ballerina role as the female soloist in the Peasant PDD in "Giselle".  Promoted to soloist practically at the age most corps members retire.  Seems to be working at the JKO School according to other members of this board.  She does have a lot of temperament and personality onstage.  I think she is a tricky proposition right now as there may not be a lot of repertory for her.  Again I see retirement sooner than later.  Maybe she can segue into character roles like Berthe and just keep on that way in cameos.  Maybe this should be her last season and then go behind the scenes.

Male Soloists:

Blaine Hoven:  Blaine is 37 years-old now.  He joined the studio company in 2003 and then went into the corps in 2004.  He was promoted to soloist in 2016.  He has been really up and down the last several years.  He has had a few seasons (pre-pandemic) where he looked out of shape and uninterested.  He has also gotten back into shape and form in recent years.  Last season at the Met, he was a bit uneven with some sloppy landings but otherwise looked okay.  There is a shortage of experienced male soloist (and principal) dancers.  Blaine's experience and knowledge of the repertoire needs to count for something.  I would see how his body holds up for a season or two and then it will be time for retirement.

Gabe Stone-Shayer:  Gabe also has been up and down and last season looked down - uninterested, sloppy, weird dyed hair and just not all there.  He also seems to be exploring other avenues than classical ballet.  I suspect he feels/felt that he was stuck in a plateau by McKenzie who wasn't interested in developing or promoting him.  Took a long time to make it to soloist.  Of course that attitude is a self-fulfilling prophecy:  they won't promote you or give you opportunities if you aren't delivering or seem like you are just doing the minimum to get by.  Gabe is at a crossroads and hopefully Susan Jaffe will find creative solutions and opportunities to get him more into the game and fully utilizing his great talent.

Joseph Gorak:  A sad case.  Joe, it breaks my heart but you may need to go.  You are a lovely solo dancer but you couldn't even lift the smallest ballerina in the company, Sarah Lane, in "Theme and Variations".  No upper body strength and your partnering has room for improvement.  He has been tried out in leads for years and just hasn't risen to the occasion - mainly due to partnering issues.  Gorak is 33 years-old and has been with the company since 2009, soloist since 2014.  If it was going to happen, it would have happened by now.  He was used much less than usual in the 2022 Met season.

Sung Woo Han:  What little I saw of him in Spring/Summer 2022, I was very impressed with.  I know nothing about him but I want to see more - which I cannot say about many other dancers at ABT.  Someone to watch and I am glad his promotion will create opportunities to see more of him.

Not a very strong group, several near retirement age or past it.  Then freshly promoted kids just out of the corps.  Of the females, only Chloe Misseldine shows star quality.

Corps Dancers:

We have been talking about a bunch of them.  We have our favorites.

Of the Men:  

Jarod Curley - versatile, dances big and strong, can do character roles and classical dancing in various styles.  Very much an MVP last season.  I think he is next in line to make soloist.

Luigi Crispino - beautiful line and physical grace.  A little androgynous in manner but beautiful to look at.  Gorgeous training.  Give him more.

Jonathan Klein - totally looked like a soloist on the rise as Mercutio last season at the Met.  Physically beautiful.  Definitely should be promoted almost immediately.  More please - much, much more.

Carlos Gonzalez and Tyler Maloney were already being given leads and major opportunities by Alexei Ratmansky.  Then both got severe injuries and have been out a long time.  Both seem to be recovered.  Both are also prime candidates for promotion, especially Gonzalez who is more of the premier danseur type physically.  Maloney is more demi-caractere.

Two dancers who had a shot a decade or more ago, left to go into real estate and came back in the corps:  Eric Tamm was being marked for bigger things at ABT.  He was dancing leads in Balanchine ballets.  Then started the real estate business with Ribagorda and left the business.  Recently came back.  Ribagorda came back earlier to stay close to his wife, Sarah Lane.  Both Ribagorda and Tamm had lots of stage charisma, good looks and classical dancing ability.  I think it is too late for both of them and it would have been better if they stayed in the company.  Tamm in particular was going places when he left.

Patrick Frenette - finally getting some soloist roles and looking wonderful in them.  Again - more please.  He is totally the danseur noble type and would be (has been?) adorable as Benvolio and eventually could be Romeo.  Keep the soloist parts coming ABT.

Jake Roxander and Cameron McCune both danced Neapolitan in the "Swan Lake" Act III divertissements last season.  Both looked great and very much potential soloists.  Roxander is very new, McCune more experienced and older.  Both very handsome and well-built.  McCune is heavily into fitness.  I think both have great potential.

Jose Sebastian is now veteran corps and has been given lots of solo parts including Purple Pimp Rothbart in SL.  He seems capable and ready for more.

Cy Doherty is very new, just out of the Studio Company.  Very tall and expressive onstage, he really impressed me in the mime role of Don Quixote in the full Don Q last season.  I honestly thought he was an old retired dancer or actor hired for the role - one of the best I've seen.  He looks very promising and should be given both soloist and mime roles like Prince Gremin in "Onegin" if that ever comes back.  Tybalt in R&J.  And I want to see more of his classical dancing.

Melvin Lawovi was striking in some contemporary works last season and then was just thrown away.  Wasn't given enough to do.  He should not be cast aside because he isn't conventional looking.  He has an interesting way of moving and great individuality but may be a tricky fit in a mainly classical ballet company.  We need to see more of him.  Use your minds and find stuff for him, ABT.

Elwince Magbitang is clearly being groomed to take over the demi-caractere bravura solos like the Bronze Idol in Bayadere (not like the complete ballet will show up any time soon).

Kento Sumitani also caught my eye with his strong technique.

The Women:

Zimmi Coker - we all love her and she is a bright light.  Let's hope she gets many more roles and a promotion.

Erica Lall - a real joy of dance comes through with her.

Paulina Waski - seems to be shuttling between Boston Ballet and ABT.  She has been given solos.  Last season she seemed a bit tired and fragile.  Definitely a beauty ready to take flight.  Needs careful coaching and support.

Léa Fleytoux - another beauty I could see soaring in bigger roles.  She also sparkles onstage like Zimmi Coker.  More please.

Fangqi Li caught my eye often last Spring.  She needs more stage time.  Let's see her develop.

Scout Forsythe - she seems to be doing great stuff as a freelancer outside of the company.  I have seen her in just a few bit parts.  There is more stuff on the internet on her YouTube and Instagram that suggest she has a lot of potential as a classical ballerina.  They need a tall ballerina with authority.  I say start grooming her for bigger things.  She has been mostly in the ensemble corps.

In the studio company new apprentice Elisabeth Beyer seems a very, very accomplished ballerina already but that is from seeing YouTube and Instagram clips online.  A candidate for a Chloe Misseldine overnight rise to stardom.  

On 5/18/2023 at 4:17 PM, abatt said:

Herrera, Reyes and Part were, if their interviews are to be believed, forced to leave before they wanted to or expected to retire.   So forcing people (principals)  out is not unheard of.

Does Jaffe want to start out like Corella, dropping people who are not impressive to "remake" the company as soon as their contracts are up?   I guess we shall see.

 

Add Sarah Lane to the list of those who departed before they wanted to.  Marcelo Gomes also left but evidently due to a "situation".  I find it sad that Stella Abrera, Sarah Lane, Marcelo and David Hallberg did not get retirement performances.  At least Part, Herrera and Reyes did.

Looking at the roster:  

Principal Ballerinas: 

Gillian Murphy:  Over forty.  A genuine company star.  I found her technique more than acceptable in "Swan Lake" last summer.  Notice she has dropped Kitri in "Don Quixote".  I think Gillian should be allowed to reduce her repertory to what she can still do well and retire on her own terms.

Isabella Boylston: I know she isn't universally liked.  Sometimes I don't like her, many times I like her a lot.  Boylston is very much an all rounder.  Her artistry has been criticized but her dancing ability hasn't.  She may be the kind of dancer who improves with maturity.  Still I think she is not one to drop from the roster.

Misty Copeland:  She turned 40 in September 2022.  When she returns for the 2023 Fall season, she will be 41 and hasn't danced a classical ballet since the Nutcracker in December 2019.  Had a baby.

Misty is a star - however that happened it is a fact and the public knows who she is and wants to see her and see ballet because that is what Misty dances.  I don't think she will hang around longer than she needs to - she has made a lot of money.  She can take her genuine talent to many other places than dancing another Juliet or Odette/Odile at ABT.  Misty has options other ballerinas don't have.  Her long hiatus from classical ballet could go either way - she could either be totally out of shape and unable to dance classical ballet.  Or the four year hiatus has allowed long lasting chronic injuries to finally heal up and if she works hard with a good coach she could come back strong as ever - or stronger.  But she really no longer needs ABT - she could start her own dance company and tour with "Misty and Friends" dancing what she can do well.  I wish her well wherever she decides to go but hope at this point that she would redirect her energies away from standard classical ballet and into new works.

Christine Schevchenko:  Also an all-rounder and a very strong dancer.  She waited too long for leading roles and I wish her many years as a principal dancer.  

Skylar Brandt:  Somewhat similar situation as Schevchenko - Ratmansky gave them both chances in his "Shostakovich Trilogy" which saved them from being sidelined in the corps.  She has all the technique in the world but needs more time as a principal ballerina to develop commensurate artistry.  Both Schevchenko and Misty had to wait a long time to dance principal roles.  Then came the COVID-19 two year hiatus and they both lost out on important new roles - Brandt was to dance Aurora.  I think they are all catching up.  They haven't been dancing these roles since they were in their early twenties like they would in any other company.

Hee Seo:  Seo is 37 years old.  She is one I would consider not extending her contract.  However, ABT has the option of just phasing her out by pulling ballets from her like "Swan Lake", "Sleeping Beauty" and certainly "Don Quixote" and then let her go when she hits forty.  I don't know if Jaffe was stuck with dancers for 2022-2023 since their contracts were renewed by McKenzie before his retirement or Jaffe and McKenzie discussed which dancers to rehire and which to drop.  It looks like everyone got rehired.  Also Hee Seo in the Met casting is still getting opening night "Giselle" with Stearns and has two "Swan Lakes".  So possibly Jaffe likes her.  I think her moment as the prima ballerina assoluta successor to Julie Kent has come and gone.  Give her a few more seasons with less to do then a farewell as Juliet and call it a day.

Catherine Hurlin:  One success story from the JKO School.  Definitely a comer.  They are giving her roles like "Swan Lake" and "Giselle" and I think she has what it takes.

Devon Teuscher:  Devon is 34 years-old.  I don't think Jaffe will get rid of her.  I find her generally solid.  Not crazy about the stiff back and limited arabesque.  I think she has done wonderful things with ABT especially in some of the contemporary premieres - Ratmansky works, etc.  I  heard on this board that her "Swan Lake" was wonderful last season.  Not sure I want to see her as Juliet (I don't love the ballet) but she seems a good element without being a star.

Cassandra Trenary:  Trenary's early Auroras in the Ratmansky production promised great things.  However, she seemed to not deliver on her early promise and McKenzie sidelined her casting recently, almost demoting her back to soloist. 

I did like much of the Juliet debut last summer but have seen much better.  Didn't like her Giselle AT ALL.  She guests a lot with contemporary companies.  I am not sure about her future.  Cassie needs to score in another classical role and kill in a major contemporary work.  Maybe "Like Water for Chocolate" will do the trick.  She needs to start capitalizing on her potential or leave and become a freelancer.  I can't think what should be done with her - I think she needs to define herself at ABT.

Male Principals:

Cory Stearns:  Cory seems to be aging out and prone to injury.  I think he would be wise to retire in 2024.  Cory was another bland dancer in classical full-lengths who could shine in smaller scale works like "Fancy Free".

Herman Cornejo:  What Susan said.  He is a superstar.  He did too many years in "Peasant Pas de Deux" and "Swan Lake Act I Pas de Trois" purgatory.  Took him years to get "Giselle", "Le Corsaire" or "Don Quixote"  The "Dream Team" of the 1990's and aughts really delayed his promotion.  Let him dance principal roles as long as he wants to and can.

James Whiteside:  You may not like him but he is another all-rounder and quite unique.  He is an imaginative and individual dancer and can deliver a star performance.  I don't like him in danseur noble or princely roles and prefer him in parts that exploit his offbeat nature.  But he is interesting which several others ARE NOT.

Daniel Camargo:  Like NYSusan and Abatt said - a great acquisition and his genuine dramatic acting talent makes him a good fit for ABT's repertory.

Thomas Forster:  I do like him, once again ABT kept him in the corps too long and he is nearing the end of his career.  He seemed to dance very well last summer.  I think he deserves the less than five years he has left.

Calvin Royal III:  This is sort of a Michele Wiles situation - I loved Wiles as a soloist but never liked her as a principal ballerina.  Ditto Royal,  Don't hate him but would prefer to see other dancers in his roles.  I find his feet kind of big and inflexible.

Joo Won Ahn:  Boring dancer.  Should have had a few years being tried out as a soloist in leading roles and then dropped.  I don't mind cold, dramatically stiff dancers if they are strong technicians.  However, Ahn really dropped the ball in the tricky male lead role in "Theme and Variations" last year.  Technically limited and can't act?  No.

Aran Bell:  Like Hurlin a rising star and he has made the most of his opportunities.  I would like to see him get cast more with Hurlin but there are many situations now at ABT where a dancer you like is always cast with a dancer you don't like.

Roman Zhurbin:  I think that he is a wonderful artist and am delighted he got promoted to principal as a character dancer.  However, I think it was a spot for a male principal that might have been filled by a bright young star.  No complaints about Roman though.  I love him onstage.

This post is long already.  I'll go over the soloists in another posting.

Mr. Finlay has emerged from seclusion on Instagram hinting at some sort of rehabilitation and a new career as a therapist.  Hinting at demons that he has had to put behind him.

Megan Fairchild and Sara Mearns had positive responses to his post.

I believe in forgiveness and that there is more to people than their worst behavior or actions.

Hopefully he has genuinely grown beyond his younger self.  We'll see.

https://www.instagram.com/p/Cr9Jf5XR5Ua/

This is an earlier post explaining how he suffered from anxiety disorder and substance abuse and checked into rehab back in 2018.

More support from Maria Kowroski, Sara Mearns, Megan Fairchild, Julie Kent, Lauren Lovette and many other dance colleagues including Ask La Cour et al.

Ashley Bouder salutes his courage in returning to the public eye.

https://www.instagram.com/p/Cp_h8FhjrTf/

8 minutes ago, abatt said:

I see that Alexa Maxwell is doing the role created on Mearns in the Wheeldon ballet next week for one show.  Nothing against Maxwell, but Mearns is the entire reason to see this ballet.  She is clearly the center of its most compelling moments. 

Funny, I had the opposite reaction of Faux Pas.  I felt the Wheeldon work was a much better crafted work than the Pires work.  To each his own.

I find with abstract plotless ballets the critical reaction is similar to criticizing abstract paintings.  Do the colors appeal to you?  Is there structure and design that catches your eye?  How does it make you feel?  It's very subjective.

Music also has a big part in it.  I actually like the Schoenberg score which is early and tonal and post-Romantic.  But I liked the jazz score by Frerer which was very danceable.

But I won't say which of us is "right" or "wrong" since it is very subjective.

I think the Wheeldon does need strong personalities onstage so Mearns does the major share of carrying the work though her role is fragmented.

BTW: the rest of the cast are pretty much ensemble, so Clark for Kikta or Zuniga for Grant made little difference.  They didn't register outside of the group.

Glad to see Maxwell getting lead roles in new works by major choreographers.  Her time has finally come.

I stayed for the first two ballets.  "Times are Racing" I saw twice last season.  I left after the speeches.

Wheeldon's "From You Within Me" is set on Schoenberg's "Verklärte Nacht" (as is Antony Tudor's "Pillar of Fire")

The music radiates inner tension and melancholy.

There is a front scrim curtain by set and costume designer Kylie Manning depicting turbulent seas.

Lights behind the scrim revealed figures huddled in a circular formation rising and falling.  

The figures are identically dressed in dark red bodysuit leotards with some sheer sections.

Individual figures reach out from the group - Megan Fairchild (back from injury) and Sara Mearns.

Later the huddle disperses and we see ensemble choreography.

Then there are dances for Roman Mejia and Indiana Woodward, a pas de trois for Indiana Woodward, Megan Fairchild and Mejia.

Then a fraught male pas de deux for Peter Walker and Aaron Sanz (replacing Chun Wai Chan).

Sara Mearns in solos emerges as an outsider or renegade from the group.  Her costume changes from dark red to pale lavender.

Eventually in the final tableau, Mearns leaves the group and exits stage left into the unknown.  Mearns was very moving in the role.

I don't know what I thought of the ballet.  It was well done but didn't seem to have a "why" to it.  I didn't know where the emotions were coming from.  The Wheeldon choreography was good.

I was moved because Mearns was moving.  The rest I don't know.

I actually very much liked Alysa Pires' "Standard Deviation" which had more life.

I enjoyed the jazz score by Jack Frerer with Chris Hemingway on saxophone conducted by guest conductor Tara Simoncic.

The lighting by Mark Stanley was dramatic and theatrical, the costumes by Dana Osborne striking.

I felt that Pires was using the dancers' bodies in exciting ways and the choreography fit their bodies well.

Adrian Danchig-Waring, little seen earlier this season, looked really great.  Mira Nadon, partnered with him, looked sinuous, sensuous and commanding.

Tiler Peck had very fragmented, fast and daring solos and looked in her element.

There were lots of small solos for male soloists (including KJ Takahashi) that were showstopping miniatures.

The piece seemed creative, lively and very danceable and I enjoyed it more than the Wheeldon.