abatt

5 minutes ago, TheAccidentalBalletomane said:

I saw LWFC Fri night, w/ the Park/Misseldine/Brandt/Camargo/Bell Cast.  The music conveyed the story fairly well and I enjoyed the Mexican/ethnic style sound and the conductor was very well received. I thought the acting was excellent throughout the cast, which is important since much of the first act, especially, was mostly storytelling and not very much interesting or challenging dancing, although I liked the use of the table and chairs to aid in creating interesting positions around the kitchen table and in other scenes. I note, in particular the acting of the mother (Misseldine) as the ultimate wicked mom; as it is hard for someone so angelic to pull off that character (and she did); and I had to do a double take watching a recent innocent P. Praline / Giselle, now the sister Gertrudis, turn into a woman overcome by desire with a man (men?) having their way with her in a frantic scene ending on horseback.  It was fun and strange seeing  these transformations -- congrats to these dancers.  The dancing was more energetic and less dark of course with the celebration dancing with Gertrudis featured with the men in the campfire scene; some of which looked difficult (I cannot describe what Bell was doing but he was doing it very fast). The dancing/choreography definitely picked up in middle of the second act.  I plan to go one more time to see Brandt dance Tita.   I liked the imagery of the larger than life mother/Misseldine in the crazy long red hair-fro.. I felt it helped convey the correct emotions as to what Tita was feeling in her mind although I know you want to try to convey that with your dance movements.  I will let others correct me on that.  The Times felt that some of the costuming and special effects were a substitute for creative choreography, especially in the first Act and first half of the second.  This is a fair point and am interested if others agree.  

Misseldine was the eldest sister, not the mother.  The mother was  Claire Davison.  Claire missed her big moment of cursing Pedro. She is supposed to touch the top of his head. at the end of Act II.  She was too tall on that contraption that she was being wheeled around on, and the best she could do was wave her arms around the vicinity of Pedro's (Carmago's) head.  

I definitely agree with the post above that Of Love and Rage had considerably more classical ballet than LWFC.  LWFC is balle Light.  Is it a sacrilege to say I preferred Carmago.  Cornejo was good, but Carmago was better.  I was less impressed with Park.  The role requires better acting, and she lacks experience compared to Trenary.  I thought Brandt was all wrong for the feisty middle sister in the second cast.  Her dinner table orgy scene was disjointed and awkward.  In Hurlin's hands it flowed more seamlessly and looked sexy.   Also, whose bright idea was is to pair Aran Bell with Brandt in the campfire scene.  He looked like a giant and she looked like a midget.

Yes, Wheeldon relies heavily on special effects and other bells and whistles instead of creating choreography.  Maybe this is what audiences prefer.  I'm not sure.  

Last night the run time was approx. 2 hrs. 50 min.

Forgot to mention the stellar work of Hurlin.  I am eager to see her in every role she takes on. 

Also, watching Trenary and Cornejo together made me eager to see their R&J.  I hope it actually happens.

The role of Dr. Brown is  very minimal. Nice to see Forster on stage, but it is a very forgettable role.

45 minutes ago, NinaFan said:

Thank you for the review and for not giving the ending away as I’m looking forward to seeing the ballet. 

The fake fire sounds interesting, but then I’m a sucker for special effects anyway.  Perhaps he felt it helped to create the mood, especially if the fire was also in the book.   But I obviously can’t really comment until I’ve seen the ballet.

Would you say the ballet was closer to 2:45 hours or more like 3 hours?  I am trying to get all my ducks in a row timewise.  Thanks.

Last night it was 3 hours, but it was a "gala" night so maybe the intermissions will be a little shorter for the rest of the run. 

 I found some photos of the celebs who attended.  Mick Jagger & Melanie Hamrick (in a Dolce & Gahanna dress) were at the after party, but I'm not sure if they saw the ballet.  The photo was definitely inside of Geffen Hall, where the party was held.

The NY Times review is available for those with subscriptions.  Verdict - too much plot, not enough dancing.

The work held my attention and I enjoyed it, but I wanted more actual dancing and less gesturing.  The choreography for the group dances is relatively simplistic and not technically challenging.   The final pas was very well done, until Wheeldon decided to add that little bit of kitsch at the very end, which I will not reveal so as not to spoil it for others.   

I think this work would have benefitted from an editor who was willing to slash scenes from the ballet that were not essential to the basic outlines of the story.   One thing that distinguishes the classics is that each act has a major dance divertissement of the leads.  I thought there just wasn't enough impressive choreography in this to justify a nearly 3 hour run time. 

ABT has apparently stopped the ticket giveaways in the upper levels to fill the house for the gala.  Lots of empty seats in the balcony and family circle. 

MacMillan didn't need fake fire effects to convey passion.  I realize that fire is part of the book, but it says a lot that Wheeldon frequently relies on scenic gimmicks to substitute for quality choreography.  Couldn't the spirit of the mother deliver her warnings with good mime and acting or dancing.  Instead he gives her this outlandish wig and she is  hidden under tons of fabric as she is carted around the stage.  When Shevchenko smushed her hand down on Cornejo's head I busted out laughing.  I don't think that was the intended effect.  

Overall I felt that the choreography was more like something you would see at a Broadway show rather than the level of sophistication I have come to expect from a top tier ballet company.   One act of Don Q has more sophisticated and difficult choreography than 3 acts of LWFC.

Due to the generosity of a friend who is a member, I attended the dress rehearsal last night.  I didn't stay for the final act.  Since it was a dress rehearsal, I'll keep my comments to a minimum.  Wheeldon was there supervising every aspect.  Having never read the book or seen the film, I felt that there were just too many characters and plot points in this work.  This may have been fine for film and in a novel, but in a ballet it becomes a problem.  Study the synopsis before the performance, or you may find that you are sometimes lost.  (This was also a problem last season for Love & Rage).   The rehearsal cast was opening night cast - Trenary, Cornejo....

I agree with the posts above that the first act is far too long.  

In particular, the technical crew was having some issues regarding lighting.  Hopefully it will all be straightened out for tonight's show. 

1 minute ago, matilda said:

Ha! Freudian slip, I guess. In all fairness I do really like Teuscher although it is hard to picture her as Giselle. If the show weren't on July 4th, I might even try to catch that cast. Bell absolutely killed it as Albrecht in fall 2021. 

Yes.   He was great.  I don't recall who was his partner for that show.  

Just because the unions negotiated a deal with the Met Opera for Sunday opera performances does not necessarily mean that the same deal applies to  ABT.   

On 6/17/2023 at 12:00 PM, California said:

I hope nobody on this site is flying to Houston, hoping to see Sarah Lane in Swan Lake on Sunday. She just cancelled, as per Facebook.

https://www.facebook.com/sarahlaneofficial

NYSusan is there, and booked the trip to see Lane.  

Er, two of the least suitable people for Other Dances are Boylston and Ahn. They lack dramatic insight. Maybe the rest of the program will be good. 

By the way, Paul Taylor returns to the Koch Oct 31 thru Nov 12.  Why do I mention this on an ABT thread?  That leaves the two weeks after the NYCB fall season as the likely dates for ABT to appear at the Koch int he fall. 

Oh no.  NY Susan went to Houston to see Lane.   Did these "circumstances" exist before her abrupt withdrawal from the performance.  This is no way to treat your fans.

42 minutes ago, matilda said:

 

Some quotes that give me pause:

“People are just starting to come back to the theaters,” said Susan Jaffe, the company’s new artistic director, who took over in December. “

 

For me, this smacks of willful ignorance.  Based on my experience, theaters all over NYC are packed to the rafters for programs and artists that the public wants to see.  You couldn't beg, borrow or steal to get a ticket to Dudamel at the NY Philharmonic, Yuja Wang at Carnegie and Yo Yo Ma at the NY Philharmonic.  These are only a few examples that come to my mind for this season.  Stop blaming Covid, and look inward as to why attendance is weak.  

13 hours ago, Papagena said:

Honestly LWFC is selling better than I thought it would given that there are so many performances.

 

That appearance may be deceptive.  Nearly every performance of LWFC was offered on TDF.  So on the seating chart it may look like a ticket sale, in reality large numbers of tickets may have been supplied to discounters like TDF.

Nothing against Hee Seo and Aran Bell, but the Saturday matinee of Swan Lake would sell out regardless of casting.  

Yes the music is fantastic.  The Atlantic Theater is a very small off Broadway house with a small stage.  I don't think the dimensions allow for any  large ensemble  dance numbers.  

I had not thought about the fact that the guests may be singers, not dancers.   That makes a lot of sense.

Gustave never really had a full run during its premiere NYCB season because of rampant Covid.  At the performance I attended at which it was scheduled, it was replaced by an excerpt from The Runaway.

A friend with a lot of spare time looks at this issue regularly.  All of the Swan Lakes are selling very well (shocking!) and the Giselles and R&J's are selling well (but not at the same pace as Swan Lake).  Ticket sales for LWFC have been weak. 

Thank goodness they are ditching those awful Santo Loquasto costumes.  

The invitation of "guest artists" is interesting and unusual.  What other companies perform Who Cares?  Royal Ballet?  Does Paris Opera do this work.

ATLANTIC THEATER COMPANY ANNOUNCES
THE FIRST TWO PRODUCTIONS OF 2023-2024 SEASON

World Premiere Play
A Co-Production with National Theatre
INFINITE LIFE
Written by Annie Baker
Directed by James Macdonald
Linda Gross Theater
August 18 – October 8, 2023
Opening: Tuesday, September 12, 2023

World Premiere Musical
BUENA VISTA SOCIAL CLUB ®
Book by Marco Ramirez
Music by the Grammy Award winning Buena Vista Social Club
Choreography by Patricia Delgado and Justin Peck
Directed by Saheem Ali
Linda Gross Theater
November 17 – December 31, 2023
Opening: Tuesday, December 12, 2023
 

The rest of the season seems to be selling well enough.  So maybe even if LWFC is box office dud it's not a complete disaster economically for them.  

The timing of the departure seems calculated to cause as much damage as possible.

Belka, you should try to see Taylor Stanley in Apollo.  I suspect he will be cast in the fall (barring injury or illness).

Thanks for kind thoughts, Helene. 

Today it is clear and lovely in NYC.  So it seems that the smoke problem is gone, for now. 

Wednesday's orange sky was bizarre.

Mearns is one of the most celebrated ballerinas in the United States, and she has extensive experience is Ratmansky ballets.  

Not much time to write.  I went to the Workshop last night. The winners of the Mae L. Wein awards were Oscar Estop (he is 6 ft 5 in), Natalie Glassie and Mia Williams.  Mia Williams did not perform due to injury. The booklet says that Mia and Oscar will begin apprenticeships w. NYCB starting in August.   A very impressive group of dancers.

Napoli was my favorite because there are so many featured parts, and NYCB has not performed it in quite some time.