mimsyb

Despite some good and just plain OK dancing in "The Tempest", this ballet has to rank up there with "The Pied Piper" with Corella from a few years back as a project gone totally wrong. Lots of money on that stage last night for sure (costumes, sets, etc), but little else of any merit. IMO, Ratmansky is not as good a story teller in these ballets. ("Firebird", "Karenena"). His abstracts soar and reveal. Here, he plods. But "The Tempest" deals with words and poetry. Difficult to dance. Score was OK, but thin. Maybe Ravel would have worked? How is ABT going to program this with "Midsummer's Night Dream" come Spring? Hopefully, first on the bill to get it over with. If it's second, one could always leave early. But in any case, it will have to come under the scrutiny of comparison to one of ballet's great works.

I just found the answer to the first question on the web site. There are several different performance extras, including Q&As with the production people and artistic staff. Does anyone know about the seating? I love to sit up close, but does anyone know whether that's a bad idea in that theater? This theater at the Signature Theater Complex has excellent seating. Every seat is fine, except for a few on the very sides. I would not want to sit up too close here. For plays the front row is right up at the stage. Don't know if they will reconfigure in any way. Probably not. Go to the web site and look at the seating chart. The theater is the Diamond Theater. I have a seat in row "G" for my viewing, which gives one a bit of perspective, especially for movement of any kind. I've sat in almost all the areas of this theater and there really isn't a bad seat anywhere.

Given that perhaps Ms. Whelan will be repeating some if not all of the works she performed at the Pillow and earlier at the Guggenheim Works and Process when she is at the Joyce, none of these works were in point shoes. Still lovely.

San Francisco Ballet used to perform it also. Long ago. Very entertaining.

Certainly, congratulations to James on his promotion. Alas, however, it leaves out Sascha and Jared.

One of the best theater pieces I've seen in a long while. Watson is brilliant, but so is the entire cast. Go see it!

Love the belted jackets!!! Almost like "le smoking"! Fabulous! Hooray David!

See, and I think he should join KISS! He and Gene Simmons could make a remarkable duo!

If in order to get her you need also to hire him, that's a poor administrative decision on everyone's part. If those are her conditions, I say tell her "no". He is so far inferior in technique and style to so many others at ABT, and yet he is getting not one, but multiple performances of many roles that should be going to others. I think it can be said that the Emperor truly is without clothes at this point. He is taking up space on the roster and it's so sad to see. Given her numerous recent cancellations and the fact she will be with the Royal more now, I have to ask is she even worth it? ABT has many qualified and exciting dancers. Let us see them!!

It's just a thought, but the continuance of doing the full length "war horses" year in and year out at the Met means that there are just so many roles available for the corps dancers. And the soloists have to get stage time too. So what to do? I appreciate that these ballets fill seats and they offer opportunities for the principles. But this is why we get Misty doing what is essentially a corps role (White Cat), and Sara getting an Aurora once in a blue moon. And Messmer is leaving. But when the Ratmansky Trilogy was presented, the entire company got a chance to dance...really dance! And there were two full companies for these ballets. AND a corps dancer got to fill in for a Principle (Shevchenko for Murphy). This was also the case for "Drink" and "Symphony in C". Lots of dancing. Lots of opportunities for everyone. City Ballet has done this for years. Three ballets on a bill and everyone dances. It must be difficult for corps dancers at ABT to continue to do these ensemble endeavors and for soloist dancers to never move up because no one leaves and ABT continues to hire from the outside. To see the poor excuse for dancing that was Vasiliev's Blue Bird was a travesty. And there in the corps in those ridiculous costumes was Gorak, Phillips, Scott, Ribagorda, etc. etc. doing pretty much nothing. I don't have an answer. (well, I do, but no one wants to hear it!)

Well, Simone Messmer is leaving.

The part is smallish. This version tries to give it a bit more heft but I'd always choose my sb based on the female lead. Plus Part is dancing with Gomes, so not too shabby on the prince either I'd also go with Part/Gomes. Although the Kochetkova'Cornejo could also be interesting. IMO, however, this production has some real flaws. Costumes and scenery tend to the grotesque at times. Dancers always seem to be cramped on the stage. Story telling is diffused. Carabosse is not scary. The storybook characters have been reduced to the bare minimum. On and on. If this is your first viewing of this ballet, know there are superior versions out there. Why ABT is clinging to this one is beyond me.

Still, if his parents had been on top of it, they could have brought in dancers (both male and female) to help Daniil with the partnering in his earlier years. Surely, as dancers themselves, they should have recognized the need for a comprehensive training program if he was to go on to joining a company. It can't all be about the tricks. (or can it?). No dancer should have to learn about partnering in front of an audience. Unfair to the dancer and certainly unfair for any partners and the audience.

Weeell..YOU are the NYer, so I'm open to suggestions..! Is there a low key joint around the LC to have a couple of drinks..? (Nothing fancy...you know...) The only low key place I can think of is PJ Clark's. They're usually packed pre-performance, dont know what they're like after. Why don't we meet at intermission and figure it out. If you're up in the balcony we can meet there. Try Indie. It's in the same space as the Film Forum (under the stairs). Very good both pre and post show. Sometimes a few dancers show up. Less noisy than P. J's.

I didn't enjoy Vasiliev as much as you did, Abatt. He seems to hurl himself in the air as if he's throwing a football. And his landings are hard and noisy. There's no attempt to point his feet. I see very little real technique here, but lots of gymnastics. I just can't say that his jumping skills are all that attractive. Messy. I guess of all the roles he's done so far this Season though, this one is the least offensive. His "Chew the curtain" style works somewhat for the role. At the least, the costume for Orion hides his tree trunk thighs and legs. I thought Xiomara did quite well, considering she learned the role so quickly. She gets all the quick footwork of the part, and she and Herman are excellent together. And HIS jumping was sublime! Strong, focused, high. He seems suspended when he jumps, creating fascinating pictures in the air. And there's such joy in his dancing. I was there on Opening and the audience seemed quite full. As it was last night. Can't speak for the other performances.

Was Cynthia Harvey at that time? Cheryl Yeager

It's my understanding that Osipova is out of the Saturday "Sylvia" as well. Reyes is dancing.

I agree with everything said about the Kent/Gomes performance. It was for me a MAster Class is how these roles should be performed. Her port de bras are so far and away the finest in recent memory, and her acting of both characters was simply on a whole other plain than the others this week. Gomes needs no further praise from me. He is the the finest example of a male dancer going today. No one comes even close. I don't mind the choreographic changes one bit. At this level it's purely academic if she does or she doesn't do the backward hops in arabesque. My question is: how does she dance at this continued level? (as an aside, she was my favorite Juliet also this year. Pure poetry) One can only hope that if and when she does retire she will stick around to show and coach the younger dancers. A few other comments. Stella is the only female dancer that I notice who is capable of doing "sixes" in the pas de trois. Someone commented, not since Erica Cornejo. My question is, why not? Someone is not telling the ladies how they are done! MAthews was great as Rothbart. Big improvement. Jos. Gorak gets my vote for a promotion and soon. Vasiliev as Rothbart was a total embarrassment. Not only did he not fit the costume (oh, those over the thigh "Kinky Boots"!). But his dancing was just pathetic. Clumsy and awkward. His toes were un-pointed. His thighs looked even larger than ever! His preparations and landings rough and without any semblance of any training whatsoever. He looked like a cross between a thug and a purple troll. Why did he get three performances of this role? Oh yeah, he sells tickets. This is so sad.

One of the very best to dance "the swamp thing" was Isaac Stappas! Really evil. And his handling of the swan in the prologue was different from all others I've ever seen. For starters, he always had the face of the swan facing into the stage as opposed to all the others who point the beak out to the wings. This allows the audience to see his action better and we see his attempt to "cradle" the swan and bring her into his control. Also, we get to see the front end of the bird rather than the butt end. He often lifted the bird up a bit, as if it might take off out of his grasp, and then he would bring it back into his grasp as it stopped struggling. This small difference made for a heightened dramatic effect for this opening. But then Isaac always knew how to insert special small details into all of his acting roles. His Tybalt in "R&J" was the most memorable of any in recent times. His Jailer in "Manon" was evil incarnate. And his 'old gentleman' in "Merry Widow" was the funniest ever! Still miss his presence on stage.

Unfortunately, everything you said was true---I was appalled. I would take it a step further and question what he has to offer as a member of the Company. A girlfriend who jumps.

IMO Stunning! This performance will only get better and better, but what an incredible debut! No flashy piroettes, but her balances were wonderful. Her acting and interpretations of both roles was very convincing and her technique was quite secure. A very solid showing. And how lucky to have Gomes as her first Prince!! Their dancing together was pure rapture! After his triumph as Purple Rothbart on Monday, he is the single most versatile and technically secure dancer in the company. A treasure! So glad I saw this most wonderful debut.

And with such an obvious mistake where is her editor?! A glaring mistake, for sure. But on some level I have to agree with certain elements of Kourlas' review. While I felt the standard of technique from both Semionova and Hallberg was out standing, breath taking at times even, I couldn't help feel that there was no air in either of their performances. I can't quite put my finger on it or why, but there didn't seem to be a rapture between them. Her Act II Odette was fluid, strong, secure (if a bit slow). But I never felt her despair at her situation, and this was also especially true in the final Act. Her pantomime that tells her "story" to Seigfried was cloudy and "soft". Not clear. And in her Black Swan I never saw the evil glitter in her eye. The conspiracy, the contact with Rothbart and the ultimate victory over Seigfried. I never saw her evil triumph. For me, the choreography whether it is a beautiful arabesque penche' or many dazzling fouettes has to tell the story. It can't just be "choreography." On the other side Hallberg never seemed to connect with her. His face at times looked like a mask. I didn't see a deep joy in seeing who he thinks is his one love in Act III, and though his face did register the betrayal, it all came a bit late. I didn't sense much melancholy in his Act I solo either. Yet his dancing was superb and so here again there was much to look at. And I have to agree with everyone that Gomes nearly stole the show. Here was the ultimate display of allowing the choreography tell the story. Never rushed, always adding something more to his power over the Princesses (and even the Queen Mother!). We always understood the nastiness beneath his smooth demeanor. Here is a magician intent on destroying the love of our two lead characters. I only wish the balance had been better somehow. As for the rest of the performance, it was as good as it can get. The corps was excellent, as were all the secondary leads, etc. And I agree with the poster who noted Simone Messmer as one of the "big swans". Her attack, musicality, technique and stature all were in deep supply last night. More than any dancer in recent memory, she reminds me of Cynthia Gregory. Maybe we'll see a Swan Queen from her someday soon?

Oh, I quite agree. But it's fun to have a wish list. Maybe "Les Patineurs" That one ABT could do well. "Symphonic Variations"? "Ondine"?

I agree, Colleen. Ashton's "Cinderella" is pure magic. The best. Why not an Ashton Festival? "Cinderella", "La Fille", "Birthday Offering". The possible list of ballets is endless. Dare I mention "Facade"? Does the Royal even do that any more? What are some others? Does anyone have a personal favorite?

Fantastic! Always loved his dancing and ABT needs another male coach for the men. Good choice. Congrats to Keith.