abatt

For me, the new Ratmansky work never looked like a ballet because it lacked structure. It looked like a series of solos strung together, with no apparent connection to one another. I never felt there was a unity of purpose or meaning running throughout the work. Nor did I think that the solos conveyed any particular meaning. Nice to see Simkin do his circus tricks and show off his talents, but what was the underlying meaning or purpose of it. Seeing it again tonight. Perhaps new layers will be revealed. As a point of comparison, I'm going to compare the Ratmanksy ballet to Robbins' Dances at a Gathering, which also has a string of solos, pdd's and trios. The big difference is that Robbins weaves into the choreography scenes which convey an underlying meaning that unites all the disparate sections of the ballet, so that the ballet looks like a unified work. It's a masterpiece. In contrast, the individual solos of the Ratmansky work never gel together as a unified whole, or convey any particular purpose or meaning through the choreography.

He did double duty this evening. Congratulations to him!!

The big news at the gala last night was the premiere of the Ratmansky Serenade After Plato's Symposium. My initial reaction was overall a negative one. Not all music is suitable to choreography, and I think that is one of the main problems with this ballet. Ratmansky seems to enjoy taking obscure pieces of music and superimposing choreography on to the music, irrespective of whether the music is really a suitable vehicle for dance. This was also one of the downfalls of his Tempest a few years ago, in my opinion. Apart from the music, the other substantial problem was that it was presented at the Met. On that huge stage, this chamber ballet simply is swallowed up. There is no scenery, and most of the ballet consists of solos. The Met is not a great venue for that kind of work. On the positive side, some of the choreography was exciting. Each and every cast member did an excellent job. Simkin stole the show with the flashiest choreography. Herman Cornejo was also given a bravura solo. Other memorable moments were solos performed by Calvin Royal and Gabe Shayer. I didn't like the men's costumes because the baggy legs of the pants obscured the leg lines of the dancers. Devon Teucher, however, looked and danced like a goddess in a brief pdd with Gomes. Her costume was a Grecian style dress. This is not one of Ratmansky's great works. There were some excellent moments, but overall the ballet had too many sections that were not interesting. (If you want to see a great Ratmansky work this week, cross the plaza and see DSCH at NYCB.) I was not a fan of this Firebird when it debuted a few years ago. I didn't like Firebird any better during this revival. It was tedious. Especially awful, in my opinion, is the choreography for the maidens. Poor Stella was a principal stuck in a soloist role. Kochetkova was marvelous in the Act I excerpt from Sylvia. Hee Seo was lyrical and beautiful in the Vision scene from Beauty. This is the type of role where she excels. Part was Lilac, but this scene basically has no dancing for Lilac. Stearns was a terrific and ardent Desire. The ribbon dance from Fille was well performed by Boylston and Cirio. Boylston may be a bit too tall for Ciriio.

Of the three Sylvia casts I saw, Murphy was the best Sylvia, even dancing with an injury. I was disappointed with Boylston's performance. I've avoided her for a few seasons in the hopes that some of her shortcomings would become less obvious with time and training. Boylston had great athletic power in Act I, but her classical presentation is still a work in progress. As some have stated above, there is an inelegance and lack of refinement that needs to be addressed. I was also surprised that Boylston came off pointe at least twice during the final act on Sat evening. In fairness, one of the instances where she came off pointe resulted from a partnering issue. Kochetkova was actually better than I expected. No contest - Herman was the best of the 3 Aminta's that I saw. Gomes has lots of charisma, but his lack of upper body flexibility was apparent. Parish was fine. It did not bother me that he looked young, since that works in this role. He just doesn't have the same "wow" factor that Cornejo has in terms of technique.

NYCB updated the casting lists. Catazaro is out of all shows this week and next week. (No update of the Midsummer Night Dream casting yet.) Chase Finlay is debuting in the Blue role in DAAG, substituting for Catazaro in the first cast and for Thew in the second cast.

We originally had 5 Syvia's for an 8 performance run (Murphy, Semionova, Kochetkova, Seo and Boylston). In fairness to McKenzie, that really should have been enough to cover this run. We have now lost 40 percent of our Sylvia's while the company is only midway through the run of 8 shows.

Fingers and toes crossed that we don't have another season of Hee Seo Ballet Theater.

Somehow, the show always goes on. However, clearly the audience tonight is not seeing the ballet as it was intended to be performed. You are supposed to witness the transformation of the characters, especially of Sylvia, over the course of the three act ballet. Having a different cast perform each act is a diminshment of the ballet. Having multiple people fill in works fine in plotless ballets, but not in these full length story ballets. Once again, ABT's management plan is backfiring. Too few people trained in the lead roles.

The ABT performance calendar for tonight's show has removed Murphy's name and now lists Boylston. However, it also lists Seo, Kochetkova and Bolle. Could they be splitting up the casting for tonight so that the principals each only do one act? Is this just an error? Thoughts. Added: Whiteside's name is also removed from toinght's cast, replaced by Simkin. I hope Murphy is not injured or if she is, that it is minor.

A few more words about Huxley's Ballo debut. Every step and shape of the choreography was so clear in his performance. He covered so much stage space in one of his solo passages that the stage was almost too small for him. I'm so disappointed that I will not be able to see Huxley's Oberon this season. I saw it last season, and he was fantastic. Re the Ballo performance, Megan has great speed and gets the job done, which is no easy task int his ballet. However, her performances of Ballo lack musicality and phrasing. Reichlin and Mearns were very impressive in Kammermusik. For the first time I actually enjoyed the ballet, although I feel it goes on too long. What a lucky lady S. Lowery was to be escorted by the dashing R. Janzen. in Vienna Waltzes. I thought Lauren Lovette was utterly miscast as the Merry Widow. She is both too short and too young looking. they should have at least switched up the casting and put Janzen and Lowery in the Gold and Silver Waltz, since they both look more adult than Finlay and Lovette. As for last night, Catazarro was replaced in DAAG by Adrian DW. Thus, Adrian was Blue and Amar Ramasar took the Green role that Adrian was originally scheduled to dance. Tiler Peck was magical in Pink. Utterly breathtaking. Also special mention for Joseph Gordon in Brick who demonstrated great virtuosity. I think Megan Fairchild is too short for Green. This is part of the new trend at NYCB of casting short dancers in traditionally tall roles. Would have loved to see Laracey try out the Green role. There was a major error during DAAG. It occurred during the waltz section where there are six dancers on stage and the three men have to throw each of the three women. The Blue man is at the end of the line, catching each ballerina. Usually, the last ballerina is thrown with a flourish to make the final big throw a heartstopping magical moment. However, perhaps due to the last minute casting change, Adrain DW spent too long dismounting ballerina no. 2 (Lovette) from his arms, so that he was not ready in time to make the catch of ballerina #3 (Pollack). As a result the second man in the line (Tyler Angle) did not throw Pollack, and instead kept her cradled in his arms and eventually passed her on to Adran DW (not a throw). The result was that both men were holding her in their arms, but she was never thrown in the air. Awkward. Angle definitely made the right choice because Brittany would have been thrown on the floor . Adrian was not ready to catch her.

Exciting news. NY City Center will present Vail Festival programs In New York in November. Fall for dance festival dates are contained in the link. Osipova is also returning to present modern works. http://www.nytimes.com/2016/05/12/arts/dance/city-centers-season-to-include-a-new-vail-dance-festival.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=5&pgtype=sectionfront

I thought the diminishment of Maria's range of motion with her legs was apparent last night in VW. I also noticed a stiffness in her upper body. I hope she is able to work her way back into her old roles. No time to write about the rest of the performance now. However, a big shout out to Huxley for a stellar debut in Ballo.

I thought Gomes started off in the first act a little slow, but he improved and did a wonderful job in the final act. I also perceived that his back is much stiffer than it used to be, and he does not arch his back very much. However, his high jumps and his speed in the final act were very good, and of course his partnering is flawless. Gillian started the ballet with high energy and powerful technique, but an unfortunate slip during the second act seemed to rattle her. Her wedding scene was well done, but not the breathtaking display that it was in years past. As canbelto pointed out, she was clipping short some of the footwork and did not stretch out some of her positions to the full extent. Salstein looked positively wonderful as Eros. Whiteside was a little hammy, but always fully committed to the character he was playing. Whiteside seems to be at the top of his game in terms of technique. Loads of empty seats everywhere. If anyone goes to the Hee Seo Bolle show tonight, please report.

See press release below. Gina will play Victoria. CAST ANNOUNCED FOR THE FIRST-EVER BROADWAY REVIVAL OF ANDREW LLOYD WEBBER’S ICONIC MUSICAL “CATS” A NEW GENERATION OF FELINES WILL DEBUT AT THE NEIL SIMON THEATRE THURSDAY JULY 14, 2016 New York, NY– Producers The Shubert Organization and The Nederlander Organization are proud to announce the cast for the first-ever Broadway revival of Andrew Lloyd Webber’s iconic musical, CATS. One of the biggest hits in theatrical history, CATS will return to Broadway this summer at the Neil Simon Theatre (250 W 52nd Street) with preview performances beginning Thursday, July 14, 2016, and an official opening set for Sunday, July 31, 2016. The new generation of CATS will include Giuseppe Bausilio as “Carbucketty,” Quentin Earl Darrington as “Old Deuteronomy,” Jeremy Davis as “Skimbleshanks,” Kim Faure as “Demeter,” Sara Jean Ford as “Jellylorum,” Lili Froehlich as “Electra,” Daniel Gaymon as “Macavity,” Shonica Gooden as “Rumpleteazer,” Christopher Gurr as “Gus/Bustopher Jones,” Tyler Hanes as “Rum Tum Tugger,” Andy Jones as “Munkustrap,” Kolton Krouse as “Tumblebrutus,” Eloise Kropp as “Jennyanydots / Gumbie,” Jess LeProtto as “Mungojerrie,” Georgina Pazcoguin as “Victoria,” Emily Pynenburg as “Cassandra,” Ariana Rosario as “Sillabub,” Ahmad Simmons as “Alonzo,” Christine Cornish Smith “Bombalurina,” Corey Snide as “Coricopat,” Emily Tate as “Tantomile,” Ricky Ubeda as “Mistoffelees,” and Sharrod Williams as “Pouncival,”as well as Richard Todd Adams, Aaron Albano, Callan Bergmann, Claire Camp, Francesca Granell, Jessica Hendy, Harris Milgrim, Madison Mitchell, Nathan Patrick Morgan and Megan Ort. Casting for the coveted role of “Grizabella” will be announced shortly. Composed by Andrew Lloyd Webber and based on T.S. Eliot’s “Old Possum’s Book of Practical Cats,” the original Broadway production opened in 1982 at Broadway’s Winter Garden Theatre (currently home to Lloyd Webber’s newest hit, School of Rock – The Musical), where it ran for 7,485 performances and 18 years. CATS was originally produced on Broadway by Cameron Mackintosh, The Really Useful Company Limited, David Geffen, and The Shubert Organization. The creative team for the new Broadway production of CATS includes John Napier (Scenic & Costume Design), Natasha Katz (Lighting Design), Mick Potter (Sound Design), choreography by Andy Blankenbuehler, based on the original choreography by Gillian Lynne, and direction by Trevor Nunn. When CATS opens, Andrew Lloyd Webber will, once again, have the rare distinction of having three musicals running simultaneously on Broadway: The Phantom of the Opera, School of Rock – The Musical, and CATS. Since its world premiere, CATS has been presented in over 30 countries, has been translated into 15 languages, and has been seen by more than 73 million people worldwide. Originally directed by Trevor Nunn with choreography and associate direction by Gillian Lynne,scenic and costume design by John Napier, lighting design by David Hersey, and sound design by Abe Jacob, CATS opened in the West End in 1981. The musical to Broadway in 1982 where it won seven Tony Awards, including Best Musical. Both the original London and Broadway cast recordings won Grammy Awards for Best Cast Album. CATS hit song “Memory” has been recorded by over 150 artists from Barbra Streisand and Johnny Mathis to Liberace and Barry Manilow. The Tony Award-winning Best Musical held the title of longest-running musical in Broadway history until it was surpassed in 2006 by Lloyd Webber’s The Phantom of the Opera. The original Broadway production closed on September 10, 2000 and is currently the fourth longest-running show in Broadway history. This marks the first New York revival of the beloved musical. This new production of CATS is licensed by The Really Useful Group. Nina Lannan serves as Executive Producer.

I found Mothership very tedious on my second viewing last night. The Wheeldon is at least watchable, in part. A friend referenced Robbie's costume as the Jolly Green Giant. Perfection. It's nice that NYCB is trying to employ a former dancer as a costume designer, but Janie Taylor is clearly not qualified to do this work. I thought Belles Lettres was a lovely work with some excellent lyrical passages. I thought it captured the feel of the music perfectly. It is a departure for Justin because it is overall more lyrical and less athletic than most of his other works. DSCH was terrific. The prize of the night goes to Huxley, who was outstanding in both Belle Lettres and DSCH. Is anyone else praying for a Huxley debut next season in Prodigal?

Ashley Isaacs was replaced by Maxwell in Ballo. IN fact, Isaacs was not even listed in the program for Ballo. Hope she is not injured again. Mostly excellent performances tonight. Tiler Peck was outstanding in Ballo. Musicality, timing and technique were all perfection. The four soloists were excellent. This is a breakout season for both Laracey and King. Not a fan of Kammermusik, but Adrian DW was excellent. He excels in these modern, neoclassical ballets. So great to see Vienna Waltzes back. Chase replaced Ask in the Merry Widow section. He looked too boyish for the role. I also wish that Krohn were a better actress. No modulation of her expression. Huxley was breathtaking in Voices of Spring. He is now the company's leading male virtuoso. The final section of the ballet suits Mearns perfectly. Excellent attendance tonight (third ring pretty full, fourth ring empty, orchestra/1st/2nd rings full).

. Thanks for the info on the tour to New York in 2017. DAVID H. KOCH THEATER 20, 21, 22 (MATINEE AND EVENING), 23 JULY JEWELS Joint performances of the Bolshoi Ballet, New York City Ballet and Paris National Opera Ballet. Bolshoi Ballet artists dance Rubies (2nd part of the ballet to music by Igor Stravinsky) and Diamonds (3rd part of the ballet to music by Pyotr Tchaikovsky)/ Choreography by George Balanchine © The George Balanchine Trust 26–30 JULY THE TAMING OF THE SHREW Ballet in two acts to music by Dmitry Shostakovich Choreographer Jean-CHRISTOPHE MAILLOT Assistant to Choreographer BERNICE COPPIETERS Set Designer Ernest PIGNON-ERNEST Costume Designer AUGUSTIN MAILLOT

I would not say that NYCB has packed houses on a regular basis. For certain things, like Jewels and Nutcracker, definitely. However, there are also many performances where most of the third ring and all of the fourth ring are completely empty. Fortunately, it is much less costly for NYCB to operate a half full performance than for the Met Opera to do that. I should add that the audience applauded heartily after each of the two premieres.

Gala thoughts: It was a bizarre night. They started the evening with a tribute to the Chairman of NYCB, who is apparently the head of Travelers Insurance Group. We had to watch a film clip praising him, and then the company did an excerpt from Robbins' The Concert. It was the section Rain, where the dancers open and close their umbrellas. At the end, one dancers opens up a red umbrella. (A red umbrella is tTravelers corporate symbol.) Really. Pandering of the highest order. The Ratmansky DSCH was the only good ballet on the program. Somehow, the performances were not as wonderful as in prior seasons. Mearns layered on too much Drama. I preferred Whelan's more subdued approach to the material Regarding Mothership, I suspect this is another one of those ballets that came out of the NY Choreographic Institute, a division of NYCB for nurturing new choreography. This ballet should have never made it to the main stage. It was slight and looked like a classroom exercise in terms of the steps. The Wheeldon had some good moments. I particularly found the way he used the corps to be moderately interesting. However, the choreography for the 4 leads looked pedestrian, for the most part. Some nice moments in the pdd for Peck and Fairchild. I think part of the problem was that the music is not suitable for dance. Is Janie Taylor going out of her way to make people in the company look hideous? R. Fairchild looked like a leprechaun who escaped from a Lucky Charms cereal commercial in that awful green costume. The petite Tiler Peck looked like she had huge hips and a wide torso in the costume designed for her. Before the premiere of the Wheeldon ballet, we watched an extensive film clip about the Broadway show An American in Paris. Was there a point to this? Robbie isn't even in AiP anymore, so why was NYCB showing clips and interviews regarding AiP? Strange. The orchestra pit was then raised. Chris Wheeldon and guest conductor Rob Fisher reminisced about how wonderful it was for them to work on An American in Paris together, and the genius of Gershwin. The audience then got a little Hear the Music lecture about Rhapsody in Blue. Yes, just what the dressed up audience members who go to the ballet once a year wanted - a music lesson. Then the Wheeldon ballet commenced. In sum, the only remarkable choreography of the night was DSCH. Viva Ratmansky!

I think most celebs that are invited to and attend the Met gala want their dresses to be red carpet standouts and make headlines. It's almost like the Oscars in terms of status. Misty looked terrific, but that was a very conservative and "safe" choice in the context of this particular gala.

I got my ABT pushy fundraising call over the weekend. After I said I was not able to contribute, the relentless woman on the other end just kept trying to engage me in a conversation as to why I wouldn't donate. Several attempts to politely end the call went nowhere, so I finally said I'm hanging up now and disconnected the call. This pushiness is not limited to ABT. Same exact thing happened to me a few weeks ago on a fundraising call from my college.

For me, comparing casting issues at NYCB and ABT is an apples to oranges situation. The no- advance -casting rule works very fine at NYCB because they do rep shows, with 3 or more ballets presented on a single night. On any given night you are likely to see numerous different principals. Even if you get 2 or 3 principals you dislike, you will also get at least as many that you adore on that same program. With ABT the situation is completely different. They are presenting full length ballets where you are watching only 2 (sometimees 3, but rarely more than that) people dance the lead roles for a 2 1/2 hour production. I will always buy my NYCB tixs without knowing any casting, but I would never buy ABT tickets in advance without knowing casting for this reason. ABT is well aware of this, and that is why they publish the spring casting in October. Otherwise, they would never be able to bank large amounts of advance payments for subscriptions and single ticket orders months before the curtain ever rises at the Met.

Misty attended the biggest fashionista gala of the season, the Met Museum gala, last night. Her photo is, I believe, number 77 of this series of photos from the NY times. Correction, it is photo number 71 http://www.nytimes.com/slideshow/2016/05/02/fashion/met-gala-red-carpet-dresses/s/damon-met-gala-54-idris-elba.html

Kaysta, give the exchange a try even if you are not a a subscriber. It might work. I'm disappointed about Semionova, but not angry. I hope her medical leave is for the best of all possible reasons. However, I am angry that ABT management must have known for a period of time that she would not dance next week (or for the ENTIRE season), but hid it and continued to sell tickets using her name until the 11th hour. As some have noted, there is no way I will see Hee Seo in Sylvia. She doesn't have the technical strength required, in my opinion. Fortunately, I left open many slots to exchange into for the season in anticipation that the cancellation tsunami would occur again this year. Speaking realistically, I seriously doubt that Semionova will return next season. As an aside, Polina's offical website did not list any performances at ABT in 2016, but she still lists a Sleeping Beauty on July 9, 2016. What company is that supposed to be with? We will all be keeping a close watch as to whether she proceeds with that July 9 show. http://polina-semionova.com/schedule/

This makes 2 consecutive years that people who bought Semionova tickets are screwed. Once again I'm stuck with a bunch of tickets I'll have to exchange. Won't get fooled again, as the song says.. One has to wonder how long McKenzie knew she was cancelling out. Did he keep her name on the cast list as long as possible to sell tickets, and then pull the rug out?