abatt
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Posts posted by abatt
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After all of the rehearsal time and funds that were put into Of Love and Rage, I'm a bit surprised it's not on the roster.
12 performances of Like Water for Chocolate? That's too much. It's not Swan Lake.
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Speaking of Misty, she will appear on the Kelly Clarkson show this afternoon.
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Checked the online brochure for casting. Hurlin will debut as Juliet and as Giselle. Teuscher also gets a Giselle debut. No Misty anywhere in the casting.
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Ballet Theater to Bring ‘Like Water for Chocolate’ to Met Stage - The New York Times (nytimes.com)
A four week season - Like Water For Chocolate, Giselle, R&J, and SL.
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https://www.nytimes.com/2022/11/10/theater/dancin-fosse-broadway.html
Fosse's Dancin will return to Broadway in March. Wayne Cilento, an original cast member, will direct.
I remember seeing the ads on television when I was a youngster. Looking forward to seeing this. No info on casting.
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I think the audiences are smaller for ABT because there are no more "star" dancers, and people came to expect star wattage at ABT after so many years of international, top tier talent. If, for example, Olga Smirnova or Victoria Tereshkina were to appear at ABT, I'm sure audiences would show up regardless of what they were dancing.
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9 hours ago, fondoffouettes said:
I was in awe of Cornejo today; he exceeded my expectations, even with images of his youthful Puck still in my mind.
The production of The Dream was so much more visually compelling when all the fairies (soloists, corps, Titania) weren't all in nearly identical Oberon-green costumes. The whole production looks so murky and un-magical now. Plus, is it too much to ask for Bottom's eyes to actually open? The donkey head didn't function properly the last time they staged The Dream, and it still doesn't.
A reminder of how this production once shimmered:
I didn't realize that the costumes had changed until you pointed out. Now I do recall the costumes in the above photo. Yes, the similarity of costumes of all performers were a problem. The old costumes were better. The lighting was too dark. And the steam machine made too much noise and at times it was too smoky to see the choreography.
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After a Severe Injury, James Whiteside Is Dancing on a New Knee - The New York Times (nytimes.com)
Here is an article about James Whiteside's recovery process from knee surgery.
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12 hours ago, ABT Fan said:
Trenary was absolute heaven as Titania. It's a natural fit for her - lush, expansive, technically brilliant, charming and graceful. She and Camargo had wonderful chemistry and I'd love to see them paired together more. He was an excellent Oberon and I saw none of the excessive grinning that someone else mentioned the other night. Camargo was commanding and conniving, with great footwork and excellent partnering. As I saw in Love and Rage over the summer, he has great dramatic presence. Magbitang was a fleet-footed, flying and mischievous Puck - a fantastic debut! He barely touched the ground. My mind is working overtime imaging all the other roles he'll hopefully have in his future. McBride was funny and endearing as Helena; I've never seen her in a comic role before and she's a natural. Misseldine stands out even in the corps of fairies. I would love for them to bring The Dream back again next year.
The Seasons is still problematic in many places - the dance recital costumes for some of the roles, the busyness, the too short Autumn section. But, as a Ratmansky, it provides great opportunities for corps and new soloists. Curley was a real Prince of Winter - he has better stage presence than some of the principals. He handled the tricky partnering brilliantly and is so gallant. Coker was lovely as Frost. Park did very well as Hail, but she lacked the speed and attack that Hurlin brings to it. McBride as Rose and Li as The Swallow were great together. Seo was quite beautiful as Sprit of the Corn, but she had a bit of difficulty with some of the more difficult parts of the choreography - Boylston was pretty flawless when I saw her in it at the premier. Autumn did not go so well. Ratmansky usually gets the casting right, throwing young and inexperienced dancers who posses great potential into meaty roles where they flourish, but Shealy was out of her depth. She botched the end of a series of difficult turns in her solo, not completing the last one, and she fell when about to go into a turn with Hoven. This is the first soloist role she's been given to my knowledge so maybe just needs more time, but even the parts that went well she lacked polish and authority.
I'm sad that the Fall season is now over; It's just too short and the Met season is too far away.
Completely agree with everyone about last night's show. First, Camargo was much better last night than in his debut on Wednesday. It's like someone gave him small corrections, and that made all the difference to take his performance to the next level. Titania suits Trenary very well. And Magbitang! Whew. Very impressive. As a I watched the performance I envisioned him as a future lead in Don Q.
Agree that Curley was much better than Ahn as Winter. I hope to see Curley in many more new roles.
Sadly, Shealy was definitely out of her depth.
If anyone goes this afternoon, I'd be curious to know whether Stearns appears, or whether Camargo does his third Oberon in five days!
I missed the mixed bill due to a medical issue on Friday. But based on what multiple friends have told me, it sounds like I didn't miss much. Hopefully Sinfonietta will return soon, on a stronger program.
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The ballet has no specific religious content in the ballet, but according to Christian Pentecost the disciples of Jesus were gathered together in an upper room, and the Holy Spirit descended upon them with a rushing wind and tongues of fire. I think here dance is like a Holy Spirit that the dancers serve with wild abandon and unrelenting service.
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I liked Camargo, but I didn't think he had complete mastery of the Ashton style as Oberon. I'm thinking back to Hallberg, who was probably the most astonishing Oberon in terms of the capturing the Ashton style and technique. Herman was very good as Puck, but not at the same incredible level of his younger days. No complaints about Murphy.
The Seasons was fantastic.
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No, my recollection is that this is much more costly than other dance performances at City Center. The presenters know that Osipova is a brand name who hasn't appeared in New York for years and they fully intend to squeeze every dollar out of that situation. My concern is that most of these types of shows tend to be duds in terms of content - vanity projects with awful new "choreography". (Remember Diana Vishneva's shows? The one where she was writhing on the floor? Or how about the one where she was spinning around the stage with what looked like a crystal lampshade? )
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The ticket prices for this are stratospheric.
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I think this level of athletic and artistic ability requires a short run. These dancers were doing superhuman work, and I'm not sure they could do more than a few days of consecutive performances at this high level without injury.
I think Ulbricht doesn't have the ideal body type for a danseur. He has never had great line because of this. That's why he tends to be cast only in modern ballets or as the jester. However, in the right roles he is priceless. Tharp is definitely his wheelhouse.
Tharp in fact has done some great work on Broadway for extended runs (Come Fly Away, Movin Out), but she has also had at least one awful bomb (the one with Bob Dylan's music).
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On 4/14/2011 at 8:34 PM, Bonnette said:
Oh, my. I grew up watching The Edge of Night, The Secret Storm and As the World Turns at my mother's knee;
Me too! I recall my mother watching all of those shows when I was a youngster.
Many famous people got their start on soaps - Meg Ryan, Julianne Moore to name only a few.
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I went last night. Terrific night of dancing. As always, In The Upper Room was completely electrifying. So wonderful to see K. Gilliland on the stage again. Such a shame her career at NYCB was cut short due to recurent injuries. Ulbricht was completely in his element in this material. He and Delgado were stunning together in Nine Sinatra Songs. My only critique was lack of unison in certain places in In the Upper Room.
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Darn. I wish I could see this, but I'm not free on the dates Simkin is performing.
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What is Cojocaru's connection to Ukraine?
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37 minutes ago, California said:
Shevchenko has trained and worked in the US since she was young, so presumably she is either a US Citizen or has a green card. But visas will be needed for the others to come to the US to work. Presumably the Kennedy Center and State Department are expediting those. And the Ukrainian government has to give permission for the men to leave Ukraine, which I assume they will do. That's what I mean by a lot of contingencies. Frankly, I'll be happy with anybody they present. And for anybody who missed the Bolshoi theater stream of Ratmansky's reconstruction in January 2020, this is essentially what they are presenting.
Ratmansky was in London for the entire 5-day run there and I would be shocked if he's not at the Kennedy Center engagement. It also seems likely that ambassadors from the many countries that have taken in Ukrainian refugees and provided arms will be in attendance. Should be a major event, not to be missed, for all kinds of reasons.
I note that Smirnova was recently in the US to appear at the Fall For Dance Festival. I would be thrilled if she made an appearance, as she clearly knows the role. This is on my wish list.
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The United Ukrainian Ballet to make U.S. Debut | Kennedy Center (kennedy-center.org)
Here was the press release from the Kennedy Center. Shevchenko is confirmed as a guest artist, with others to be announced.
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I doubt that Alina Cojocaru will make the trip to the US for this engagement. However, I would be pleased to see Shevchenko in this. How far in advance did they announce the casting?
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48 minutes ago, BalanchineFan said:
Why do you think they have to pay for the rights if it's Balanchine's choreography? Paul Taylor didn't choreograph it, he was the dancer.
My mistake. Thanks for the correction.
ABT Met Season 2023
in American Ballet Theatre
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Why does McKenzie refuse to put Bell with Hurlin in a classical ballet? Ratmansky had the good sense to pair them together.