Dancerboy90210

Fingers crossed for Abrera's O/O debut! I wouldn't be surprised if Copeland or Murphy get a second O/O show. They're big box office hits. I just hope Copeland spent this year practicing those fouettes! 

 

I think Sarah Lane would be such a beautiful Giselle, but she doesn't seem to be on McKenize's radar . I also hope that Abrera gets Onegin too! I'd line up for tickets to anything with her in a principal role! Equally important to who dances what, is who their partners are! Nothing worse than when the male isn't on the same level as the woman! 

I'd be interested in seeing who we all think will dance Onegin, Giselle, Manon/R&J (if it comes back), maybe Don Q, etc.. With all the retirements two years ago, there seems to be lots of room for debuts. Lets just hope its not all Seo and Bolyston! They seem to rotate R&J and Manon each year. If either of those ballets return, prior to Onegin, it'll give Vishneva more chances to dance. I wouldn't take the wording in the press release as evidence that Vishneva will only dance Onegin. Think of all the ballets they brought back for Kent and Ferri's final season. 

 

Maybe Murphy in Manon? I think she'd do well. 

With the Fall Season rapidly approaching, the company is likely to announce their 2017 Met Season with casting soon. Shall we make a wish list with casting?

 

I am hoping for Abrera to debut in Odette/Odile (might be wishful thinking, but its now or never), Onegin, Juliet (if it returns), Manon (if its on the calendar, which it might be to give Vishneva something else to dance before she retires), and of course a return of her Giselle. I am crossing my fingers that she gets as good of a partner as Shklyarov last time around. She needs a partner that can match her maturity. With Vishneva leaving, maybe that'll free Gomes up for Abrera. I think she would pair nicely with Hallberg too, if he ever returns.

 

I'm a huge Abrera fan. I hope we get to see as much of her as possible, before she retires. Its such a shame that McKenize took so long to promote her. She is really something special. 

 

I think we will see Cassandra Trenary tackle a few more principal roles and not just Ratmansky works. Maybe she'll get a Giselle or Odette/Odile? She might pair nicely with Jeff Cirio. I think Misty will get a Giselle, but I'll likely pass on seeing that show. 

 

I wouldn't be surprised to see the company give Sleeping Beauty a rest this summer. Its been their "flagship" for so long. I also wouldn't be upset if the Golden Cockerel doesn't return. Rather they free up those slots for ballets that people actually want to see. I hope the new Ratmansky ballet is more ballet than "theatrical dance". We shall see....

 

Anyone else "casting" the Met Season already? 

Found a quote from Balanchine that I think could revitalize the 2017 Met Season....

“One should call every ballet ‘Swan Lake’ because then people would come” - George Balanchine

LOL

He never partnered Boylston in performance.

Didn't Gorak and Boylston do Sleeping Beauty together? Think they're cast again in next week's run too.

I think if/when ABT redoes their current production of Swan Lake, which I don't think is that far off, they should run it for a week and a half. The 2nd half of the later week could be filled with a mixed-rep bill. I'd be interested to see if the placement of Swan Lake in their larger season (sooner rather than later or later over sooner) affects ticket sales for other productions. Maybe they could collect e-mails/etc and then maybe offer SL ticket buyers a discount on other productions. They could offer anyone that buys a ticket for SL 25% off tickets for productions with less ticket sale momentum. I also think it would be a fun experiment if McKenize pulled a few of the ballerinas from across the plaza. Imagine a SL with Mearns/Gomes or Don Q with Bouder/Simkin. It seems that many of the NYCB ballerinas are interested in some exploration of major classical works and might enthusiastically sign up for a guest performance here and there. It might also let ABT tap into NYCB audience members that might not be as excited about ABT performances. I don't think that McKenize should solely rely on NYCB talent, but maybe a total of 3 shows might generate buzz and publicity. Also, I wonder if the Met Opera model where the productions rotate rather randomly, each night is a different production instead of each week, might work better for ABT? On a side note, I think McKenize should make a play at getting Chase Finley to jump ship to ABT. He could fill the tall male principals ranks quite nicely.

I think the real problem might be more "does ABT have the resources to turn talent into world-class superstars"? I don't think that the current crop of talent is at the caliber many of us, and others, believe ABT dancers should be at. The right coaches should ideally be able to get them there. The lack of coaching might be responsible for the lackluster progress in many of the newest principals. I think Georgina Parkinson was a huge loss to the company. When we talk about Gillian and Stella, its important to note that Parkinson had a huge role in their development. Selling out the Met (3,300ish seats) requires big stars of an international caliber, so ABT needs to get on board with developing talent.

I agree that ABT might need to import one female principal. Maybe, a hispanic one and probably someone to replace Gillian/Abrera/Part type roles. However, I believe their female talent pipeline is more promising than their male counterparts. Swan Lake last night made it clear that there is a generational gap. Gillian was on an entirely different level from the rest of the cast. I think the best thing ABT can do is dump Kevin McKenize and bring in new leadership.

Wish we could see a Stella O/O, based on this video from December with Sterling Baca, she would be ravishing.

I second that! At the ABT Kids performances, Stella danced the White Swan Pas with Thomas Forster. At the later performance, Forster danced it with Shevchenko. Makes me wonder if they're being groomed for the real thing. Shevchenko has at times reminded me of Irina Dvorovenko. I don't know how many open Odette/Odile slots there will be next season. If Seminova doesn't return, maybe that'll leave more openings. They should at least give Stella a go, before its too late.

I love Raymonda, but on what basis could we assume that it "would likely sell well and be able to be repeated often"? I just don't see it being a big box office draw. Is it a big draw outside the ranks of those of us who already love and attend a lot of ballet?

Also, Gomes has done much more than "expressed interest in choreography." He has indeed choreographed a number of works, for ABT and elsewhere.

I think Raymonda is a better known production than ballets like The Golden Cockerel. If marketed correctly (and sometimes ABT really drops the ball on marketing), Raymonda could be a hit. Its a Russian war-horse ballet. I think Raymonda seems like a good fit for a company like ABT. Perhaps they might go a different route.... What about a new Bayadere? Would that be too disrespectful to Makarova? Also, what about some Joffrey/Aprino repertory for the Fall or Met Season? Would that be a total wild card?

What's not to say that the DQ, Swan Lake and R&J (one or two or all) on the "Silicon Valley Prediction List" may not be the new editions by Ratmansky? I'm guessing the DQ, since ABT's current designs are ancient, having served three stagings of the ballet over the course of almost 40 years.

Dancerboy90210 refers to an existing Raymonda by Ratmansky. Really? Maybe he's thinking of Vikharev's recon for La Scala? I don't think that the Board would approve that because of union overtime rules. Anyway, Raymonda is not on the predictions list.

I'm guessing that Ashton will appear on that half-week mixed bill. I'd love to see a return of Birthday Offering, with those delectable female solos, pdd and male ensemble.

By the way, the Wikipedia entry on Richard Strauss' "Whipped Cream" says the it bombed at its premiere, on all counts, including the music. Why on earth would cash-strapped ABT invest a cent on it...unless, say, the designs (by Jerome Kaplan?) had already been commissioned & paid for???

I don't think Swan Lake or R&J would be ripe for Ratmansky make-overs. For one, I don't think McKenize wants the entire repertory to be Ratmansky. McMillan's R&J is really cemented in the history of ABT, so I don't think it would be likely to be replaced. Also, its a pretty solid production. Ratmansky has a reconstruction of Swan Lake (similar to his Sleeping Beauty) that correct me if I am wrong, I believe recently premiered in Zurich. I highly doubt that ABT would have two reconstructions in its repertory, especially because Swan Lake gets repeated annually. I think it would be more likely to see the existing SL production updated with new sets and costumes. Ratmanksy's Don Q, which I have only seen in YouTube videos and photos, doesn't seem to be a "big enough" production for the Met. I could be wrong, but wasn't it originally created for PNB and Dutch National? I'm not sure if it would read well at the Met (just my opinion).

I think Raymonda would be a good ballet for Ratmansky to do next season. I might be incorrect in thinking he has created a production already. Regardless, it is a production that would likely sell well and be able to be repeated often. The Anna Marie Holmes' Raymonda hasn't been repeated in quite some time. Based on what appears to be poor ticket sales this Met Season, I don't think we will see another production like Golden Cockerel. I think we might get a mixed bill with Ashton and Ratmansky, but I don't think the company will keep taking big risks. Raymonda is a safe bet. They could also cut it down to be within union rules. Also, with some of their senior dancers winding down their careers, they must balance the repertory to give them all opportunities to dance. I think Vishneva and Gomes are likely to retire in the near future. Both have the star-power to go into more project based work (like Wendy Whelan) and Gomes has expressed interest in choreography. I also think Gomes would be a good pick for ballet master. Because of this, I don't think their retirement from ABT will be the conclusion of their performing careers.

On a side note, I'd be surprised if Manon did not reappear next season. They have the women to dance it, but they might struggle to find enough men up to the task. Nothing worse than watching someone like Abrera, Part, or Murphy really giving it their all emotionally and the male doesn't return the favor! Maybe next year, they could import a few male guests. I do however, think Kevin will make one or two more male hires from the outside before the 2017 Met Season.

I agree if a choice has to be made, it would certainly be Copeland over Trenary. But, I'm guessing that if they do 8 performances of Giselle (a full week including 2 matinees) and there are 7 female principals who do the role or who would debut (Abrera, Boylston, Copeland, Kochetkova?, Semionova, Seo, Vishneva) then there'd be room for one more debut, unless someone gets to do it twice (Vishneva probably).

I think we should add to the predictions list whether or not David Hallberg will return.

ABT will be in trouble if Hallberg doesn't return. Gomes has been noticably scaling back his roles. It has almost surprised me how rapidly he is scaling back. I don't see Hallberg returning at the same rigor as he was at before. Meaning he won't perform as often as he previously did. I doubt he would just disappear without a retirement performance, etc. I think the emphases will be split between emotional ballets and technically demanding ballets. I think the company has two clear ranks, young dancers up to the demands of ballets such as Corsaire, Don Q etc. They also have Abrera, Vishneva, Part, etc who excel at more emotionally charged ballets. I think Hallberg will tradition away from technically demanding roles. I wouldn't be surprised if they make a high-profile principal male dancer hire, should Hallberg not return. Ideas on who? It would need to be a tall male who is "highly technically and artistically" proficient.

If Don Q comes back, I predict a debut for Skylar Brandt as Kitri. She's a real spit-fire and she has incredible turns.

And, if Cassandra Trenery continues her successful command of more leading and demanding roles (I suspect she will), I also predict another big debut for her too - maybe Giselle.

I'm not sure how many Giselle slots there will be. My guess is that Copeland gets a go, before Cassandra. Don't forget that Stella will almost certainly fill one of the slots vacated by recent retirements. Maybe Copeland and Simkin in the Wednesday Afternoon slot

What about Manon? Kochetkova has danced the bedroom Pas de Deux at SFB. Simenova has danced it. That'd leave room for one or two debuts. Fingers crossed it would be Stella over Bolyston or Seo. Also Vishneva would probably dance it too. I'm thinking she could be winding down her appearances at ABT. Perhaps a retirement next year? If so, I'd imagine they'd have a significant number of ballets for her to dance. I think Manon would be a better bet than another run of R&J, unless Vishneva plans to retire.

Also, thoughts on Raymonda or Corsaire? I think Corsaire might reappear, perhaps another round of new costumes. If Ratmanksy hasn't taken a stab at Raymonda, it would be a good and safe opportunity for a new production or importing his existing production. It would sell a lot better than an unknown ballet. Swan Lakw could also use a revamp. I'd be interested to see if they just get new costumes and sets for their existing production, or look for a totally new production. If they go the new production route, they could bring in Ratmansky's existing reconstruction production. However, it seems unlikely that they'd have two reconstructions (sleeping beauty) in their rep. So I'd think it would be safer to say new sets and costumes on the existing production. When I saw the performance on Monday, I thought the sets/costumes looked dated, very early 2000s.

Speaking of fouettes, how did Misty do today? Any reports?

I think that the lackluster audience attendance is due, in large part, to the absence of international stars. I think attendance will pick up for Swan Lake week and SB week. There will also be an uptick for Golden Cockerel as a curiosity. Maybe the high high attendance for Misty's performances is counterbalancing the losses for lackluster attendance for other performances.

I also thought that Heymann would have been much more suitable in other ballets. However, the need was for a Conrad. Also, Heymann is not generally known to American audiences.

I thought Marcelo might have taken those Conrad performances that went to Heymann, but it appears that Marcelo has retired the role from his rep.

Marcelo seems to be retiring many roles lately. I remember a few years ago, after Hallberg got injured, it seemed as if Marcelo was dancing every other day! I hope ABT can develop another Marcelo. When he retires, it will be a huge loss for the company.

I totally agree abatt. Those were incredible days (and not that long ago) with Cornejo and De Luz alternating performances. They were also both amazing as Alain in La Fille Mal Gardee.

On another note, attendance appears to be down. The theater has been comparatively empty all season. It reminds me of how empty the theater was in the season after 9/11.

I'm also surprised that night after night, the theater is empty. Last night didn't appear to sell well and it was Gillian, Stella and Heymann from Paris Opera! I can imagine that after the conclusion of the season, the new Executive Director is going to have some major restrategizing to do. I wonder if its the lack of enthusiasm towards programing or the lack of guest artists. As I walked through Lincoln Center towards the Met, I saw how good NYCB's marketing is. ABT does a terrible job marketing itself and certainly does not seem to be appealing to young people. Maybe ABT needs a new marketing team...

As far as last night, I thought Gillian looked great and in better shape than ever. The older costumes and sets looked a little dated and I couldn't help but wonder why Gillian's top in the first act didn't have more support in the cleavage area. I thought Heymann looked good, but to me Le Corsaire is a "Russian" ballet, making him slightly out of his element. I think ABT would be wise to invite him back to tackle ballets that are more in line with his background/strengths. Stella looked incredible, but when does she not. She was technically sharp and a great actress. I really wish ABT would let her dance even more. Simkin was effective at waking up the crowd, but looked a little immature. I was disappointed by the Odalisques. Melanie did well, but the other two were just acceptable. I've always viewed the Odalisques as a place for up and comers to really prove themselves and break from the pack. I didn't really get that last night. I think April (the turning girl) was so focused on doing her triple pirouettes, less on musicality etc, that she ended up psyching herself out. For me, Shayer was technically very proficient/impressive, but looked so young compared to everyone else. It didn't really look like he was "in charge" of Gillian or Stella. Overall, I enjoyed the performance. I've been a little disappointed with ABT this season. ABT, to me, has always been an "occasion". The whose who of ballet! The performances this season have a little of that, but too many gaps in each cast.

Just wanted to clarify that I am a HUGE Stella fan. I agree that Stella's characterization of Lise was near perfect, however flawed the ballet might be. I think that McKenize's casting choices do not always hit the mark. The character of Lise, to me, doesn't have much depth nor require much artistic range. It is the perfect ballet for Misty. After her Giselle, it is clear that Stella can knock it out of the park artistically. If I were picking a new role for her to debut this Met Season, Juliet would be the first that comes to mind. I think she has the artistic range to successfully take on McMillan ballets and maybe Odette/Odile before its too late. I'd buy a ticket today to see her tackle Manon! Mckenzie doesn't seem to be casting Stella in ballets that will ultimate have the greatest impact.

Considering that La Fille Mal Gardee seems targeted to families, it was depressing to see such low attendance. ABT must be suffering from a large decline in ticket sales, because I haven't ever observed such empty audiences in my years of attending their Met Season. To fix this, I hope that they focus on more innovative programing and creating "stars" internally and don't go back to being a company of guest artists. The lackluster attendance is yet another sign that McKenize needs to go! Whiteside is a great example of ABT's inability to cultivate stars. He is no Ethan, Jose or Angel! He doesn't give performances that stick in my mind more than an hour after I depart Lincoln Center. He has all the ingredients but seems to lack the coach that brings it all together.

I saw Abrera and Whiteside last night. I am not a huge fan of La Fille Mal Gardee. It was great to see Stella in a lead role (to think of all those years we were robbed). I do however think she looked a little weak at times. Her jump seemed to lag at times and she certainly isn't the ballerina to bust out multiple pirouettes. What she lacked in virtuosity, she made up for in her beauty/artistry. She looked so beautiful in the final Pas de Deux. I'm still not sold on Whiteside. To me, he isn't of the caliber of some international star. He gets the job done, but has some short comings. He lacks length and his dancing looks small and "tight" at times. I think he is another example of the lack of good coaches at ABT. Sometimes, including last night with Abrera, I don't feel that he cultivates chemistry with his partners. Abrera seemed to be really trying to "give him something to work with", but he didn't really seem to return the favor.

Theater & Dance

From Washington Ballet Director Julie Kent, an all-star lineup in 2017

By Sarah L. Kaufman

Julie Kent’s first season as artistic director of the Washington Ballet will be marked by contemporary masters and classics beloved over her distinguished dance career, the former ballerina said in an interview Monday.

But her strategy for “building the company,” as Kent put it, includes more than the ambitious array of first-class works for the 2016-2017 season.

Kent will be increasing the company’s roster from 25 to 28 dancers (including apprentices). Among her new hires are the acclaimed Cuban Rolando Sarabia and the Boston Ballet’s Brittany Stone. Kent will formally announce her plans at Tuesday’s media conference at the company’s headquarters.

Highlights of the season — which also marks the company’s 40th anniversary — include Kent’s restaging of the full-length“Giselle” with her husband and associate artistic director, Victor Barbee. The romantic-era ballet about love, betrayal and redemption will be performed in February 2017. Next spring, three mixed-repertory programs will feature such company premieres as Justin Peck’s“In Creases,” with music by Philip Glass, in March at Sidney Harman Hall, and Alexei Ratmansky’s “Seven Sonatas,” accompanied by Domenico Scarlatti’s keyboard sonatas, in April at Warner Theatre.

The Washington Ballet will carve out more new territory in its third mixed-rep program: In May 2017 it will dance for the first time in the Kennedy Center Opera House, in order to present another first, Frederick Ashton’s magnificent, witty “The Dream.” The peerless British choreographer’s distillation of Shakespeare’s “A Midsummer Night’s Dream” is a seamless melding of storytelling, fantasy and human drama.

“What I’m really excited about is, it’s prompted by the right reasons,” Kent said of the Opera House debut, necessitated by the production demands of “The Dream.” “It’s not a statement.”

That program will also include Antony Tudor’s “Jardin aux Lilas” (“Lilac Garden”) and a world premiere by an artist yet to be named.

“These are all masterworks, and they’re beautiful, and they have special meaning for me,” Kent said of her programming choices, which also include Jiri Kylian’s “Petite Mort” and Twyla Tharp’s “Nine Sinatra Songs.” “‘Jardin’ was the first leading role I ever danced, as a teenager, very shortly after Antony Tudor died.” She also created a central role in “Seven Sonatas” and was an important interpreter of Ashton’s fluid and effortless-seeming style.

However, audiences should not expect Kent, who retired from American Ballet Theatre last year, to dance in any of these works herself. “I would love to, but that’s not the point,” she said, laughing. “You will not see me in tights.”

There is just one Washington Ballet performance in the fall: a 40th anniversary celebration on Sept. 30 in the Kennedy Center Eisenhower Theater. This fundraiser for the company’s communityand education programs honors the late Choo San Goh, whose streamlined choreographic style established a national reputation for the company in the 1970s and ’80s, and Septime Webre, who steps down as artistic director in June after 17 years. On the bill are Goh’s “Fives” and Webre’s “Juanita y Alicia,” the first work he made for the company.

Webre’s “Nutcracker” will be performed as usual in December at the Warner Theatre.

Most of Kent’s artistic impact will be felt in 2017. But starting in September, Kent will launch “enrichment events,” a series of discussions to “bring the audience along in the process, so they’re learning about these works and about the dancers dancing them,” she said. These will take place on Sundays at the Washington Ballet’s Joseph C. Coleman Studio, on Wisconsin Avenue NW.

In “Dialogue With Dancers,” Kent will lead a discussion about roles with the company members performing them. “I’ll get to know the company better, as will the audience,” she said. “It’s important that the face of the Washington Ballet is really the dancers themselves, and what they’re going to bring to the stage and to the community.”

The continuation of Webre’s program “Icons: of Dance” features talks by dance luminaries. Upcoming speakers include ABT Artistic Director Kevin McKenzie, former Alvin Ailey American Dance Theater Artistic Director Judith Jamison and George Balanchine muse Patricia McBride. A “Beyond the Stage” series introduces participants to the backstories of the ballets.

A few works seen in recent Washington Ballet seasons, such as William Forsythe’s “In the Middle, Somewhat Elevated” and Balanchine’s “Allegro Brillante,” will be reprised in the 2017 programs

“Considering the timeline, the priority was to use what the company had existing in its repertoire and to bring ballets in that lay the groundwork for the direction in which we’re going to grow,” Kent said. “Introducing Alexei Ratmansky and Frederick Ashton and Justin Peck is a great foundation for the next season, which I’m already thinking of lining up.”

“Those works,” she said, “speak to the direction I want to lead the company.”

More information is on the Washington Ballet’s website: washingtonballet.org.

Interesting line up... I'll be interested to see how many dancers remain next season and who else Kent hires. Nice to see them going to the Opera House, but not sure I can imagine the company doing "The Dream" just yet. I hope she doesn't focus primarily on programing ballets that she was heavily associated with.

I attended last nights performance, with Boylston and Parrish. I thought that Boylston had some good moments, but I still feel like she is not a "ballerina". She lacks refinement and her characterizations always seem to be very "surface level". Her mannerisms often come across very sloppy and while I admire her attack, sometimes its too much. I think she has a lot of potential, but I do wish they'd give her a good coach. All the ingredients are there, it just has not clicked. The first act, for me, was the most disappointing, but she got stronger as the show went on. I thought Parrish was also talented, but looked a little "boyish". He did not seem that emotionally invested in his character. ABT needs more and stronger coaches. Once Gillian, Marcelo and Stella retire , I'm afraid of what will be left!

A bit off topic, but since there has been some discussion of what roles may suit Abrera best, I couldn't help posting this recent pic from her Instagram:

https://www.instagram.com/p/BFAbbOXsTIq/?taken-by=stellaabreradetsky&hl=e

How wonderful would it be to see her as Nikiya after so many Gamzattis...

That would be an incredible performance!

I feel sorry for Seo. My hypothesis is that she hasn't gained the transaction that the other female principals have. McKenize probably wants to keep pushing her so she gets the stage experience and matures artistically and technically. He probably also wants the audience to like her, so she can sell tickets alone. I seriously doubt she has a large enough following to fill the Met. I'd probably go as far as suggesting that she might be the weakest in terms of ticket sales. IMO, I think she isn't on the same level as the other ballerinas (leaving Misty aside at the moment). Seo is young and likely has to "catch up". Kevin wants to make the most of the investment the company has made in her, because she will be around for some time. But the audience doesn't seem to be buying what she is offering. Maybe she was promoted too soon. In the end, pushing Seo comes at the expense of other capable ballerinas in the company.

Back to Stella getting cast in Sleeping Beauty and La Fille mal Gardee, but not R&J and Swan Lake. I think that is in a way like casting Alessandra Ferri in Don Quixote and Le Corsaire and passing over her for Giselle and Romeo and Juliet. I think Stella will be great as Aurora and I will certainly go watch, but Romeo and Juliet seems like such a logical next step for her. Why push her so hard to take on roles that aren't as natural for her and ignore the roles that suit her best? I think dancers should find a balance between the roles that fit like a glove and the roles that are a bit of a challenge, but the audience also wants to see great interpretations in these ballets. Sometimes I question Kevin's casting decisions....

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I honestly can't believe that Stella hasn't been cast as Juliet! This could've been another "Giselle" moment (referring to how successful she was last year). Also, I saw a video of her White Swan Pas de Deux on YouTube and her interpretation is kinda mature and advanced for someone that has never danced the entire ballet. I think she would be a more successful White Swan than Black Swan, but I think she could power through the entire ballet. If Kevin allows Misty to continue to dance Swan Lake after all her technical mishaps in the Black Swan (fouettes, etc), I don't see how Stella couldn't get cast. Obviously it comes down to the "misty effect", so I guess Mckenzie is willing to sacrifice quality if it brings in ticket sales. Stella is a more mature ballerina, her time is limited. I think a debut performance in Swan Lake or R&J with her and Marcelo would sell more tickets than the average. I know I would immediately get a ticket! She is about to celebrate her 20th year with the company. Having danced/watched countless performances of Swan Lake and R&J, I'm sure she would enter rehearsals with significant knowledge of their technical and artistic demands. How clear does it have to be that people don't really want to see Hee Seo over and over again.... uhhhhh, this season is already looking like a disappointment and it hasn't even started.