abatt

I think they will just use one of the other Romeo's to fill in for Stearns.  The likely candidates are Camargo and Royal. Each has only one Romeo assignment right now.  However, since Camargo is a more experienced dancer, I'm guessing Camargo will get the assignment.

As for Curley as Rothbart, based on his excellent performance in Love and Rage, I think he has the potential to be a fine Rothbart.

Per the ABT website, Ahn replaces Stearns in Swan Lake. 

Added  - So now we wait to find out who will replace Stearns in R&J with Hee Seo.  My guess is Camargo.  If that turns out to be the case I might buy a ticket. 

8 minutes ago, nanushka said:

Interestingly, Gia Kourlas seems wholly unbothered by the sexual politics of the work ("a meditation on love, loss and forgiveness") in her very positive Times review:

I also found Kourlas's indifference regarding the sexual politics issue quite interesting and inconsistent with her prior writings.  She refers to the ballet as a goofy romp, as though enslavement of women was  just part of the overall fun.

1 minute ago, California said:

I know the corps women were supposed to look like a Greek vase, but I kept thinking of Steve Martin's Walk Like an Egyptian in the 70s.

LOL.  If you want to see dancers who look like they have come alive from an ancient vase, go see Robbins' Antique Epigraphs, which NYCB rarely revives. 

What a confusing and frustrating plot.  Even though I now understand the plot better I agree that this choreography is far too repetitive.  Also interesting that they have banned Raymonda and other ballets as being offensive, but management finds female abuse and enslavement a fine topic.  Everyone danced well, but this just seemed to go on forever.  Maybe Ratmansky needed a good editor.  Hurlin's more lyrical side is allowed to shine, and this made me interested in seeing her as Juliet one day.  By the end did anyone really care that Bell and Hurlin were reunited?  I didn't  because none of the relationships are developed enough for the audience to have a vested interest in the characters or the outcome.  You never really get to know any of these characters because there are simply too many characters and events populating the story, and most of the choreography fails to develop characterization or character driven drama.  As soon as the Bell-Hurlin relationship gets going in the beginning, it's time for Bell to get angry and for Hurlin to faux die.  The only person who made any kind of emotional impact was our guest artist, Camargo.

I never got the sense that Hurlin's character was using her intelligence to navigate her circumstances.  She was a victim throughout the ballet.   Coppelia, Juliet and Kitri - all well developed in their ballets - do use their intelligence to move the plot forward.   That never happens in this ballet.

I'm seeing this ballet one more time (Shevchenko cast) due to a prior commitment to a friend who wanted to see it.  I hope I have a better reaction the second time around.

Historically ABT has been the bastion of story ballets and NYCB has been the bastion for modern neoclassical ballet. I can't blame ABT audiences for not accepting ABT's presentation of Duo Concertant a few years ago, because ABT dancers are not trained in neoclassical style.  In addition, I recall that on that program, instead of pairing the short Duo Concertant with another short ballet (as they do at NYCB), ABT  simply put in an intermission, as though the 10 or 12  minute ballet was 1/3 of a full program.  I think that the audience felt cheated by that choice and did not show up.

In addition to Harlequinade and Sleeping Beauty, Ratmansky's Whipped Cream ended up selling pretty well once word of mouth spread.  Of Love and Rage is not a kid friendly ballet, and that negatively impacts sales.

11 minutes ago, ABT Fan said:

I wonder what the Plan B is for SL which is only the following week, in case Stearns is out of that as well. He has 2 shows.

I was wondering that too.  My guess is Ahn will get the call to partner Devon if Stearns can't perform.  He and Bell are the only two dancers tall enough to partner Devon, and Ahn right now has only one SL. 

Correction - Royal and Forster are also tall enough, but they already have two SL assignments.

CASTING UPDATE -  Cory Stearns is replaced in Love and Rage by Jarod Curley, as per the ABT website.

Of the flower girls I saw during the run of Don Q, Misseldine was the only flower girl  who left me with  such a positive impression that she could accomplish great things in this company in the future.

I think the scheduling of  an extended period of Swan Lake was meant to subsidize the anticipated dismal ticket sales for Love & Rage. 

Simkin is now at the apex of his powers, and last night he was an incredible Basilio.  As mentioned above, he can do technical feats that nobody else in this company can do.  Simkin was having the time of his life up on that stage. But it was all done with perfect classical technique.  Every blindingly fast spin  was perfectly center.  Every gravity-defying jump was perfectly landed.  It was a jaw dropping performance, and certainly equaled my memories of ABT's best Basilio's of yesteryear - Bocca, Carreno and Corella.  Boylston's best role definitely is Kitri because she has always had a tremendous jump.  She is also much more effective in comic roles than in dramatic roles.   I hope we see Simkin again, but I tend to doubt it.

I saw the matinee also, and I thought it was very good but not nearly as wonderful and the evening performance.  Cornejo's current level is nowhere near what it used to be.  His spins are slower, and his jumping is now conservative.  He has beautiful classical style, but he has lost a lot to age and injury.  Brandt was very good, but she doesn't have the kind of huge jump that makes a big  impression.  I would see her again in future seasons, but this may not be her best vehicle.  I will note also that in Act II both Brandt and Boylston did hops across the entire diagonal of the stage filling out the entirety of the music.  At the  gala, even though Hee was only doing Act II, she did a few hops and then substituted something easier to fill out the rest of the music.  Hee is definitely not a natural Kitri, and I have no idea why she is cast in that role.  Also need to mention the brilliant, superhuman  balances of Brandt. 

I thought Gabe was wonderful in the characterization of Espada, but the Espada choreography looks much better on a tall man.

Magbitang is definitely one to watch. 

So without Simkin and with Cornejo probably moving into the late autumn  of his career, who will be our next virtuoso Basilio.  I like Bell a lot, but the best Basilio's have been shorter, compact men.

There is also competition next across the plaza from Pacific Northwest Ballet, but I don't think those tickets are selling very well either. 

Thanks for posting.  I tried the code in a "cheaper" area of the house, and it didn't work.  So once again there are unspecified restrictions in this offer.  It apparently only applies to higher priced areas of the house.

Casting for Mercutio in R&J is now listed on the ABT website.

 Cornejo might have been contemplated for T&V as partner for Lane during that last run, but that was the time period when Cornejo and Lane never danced together anymore.  Gorak got the role in T&V instead.  Gorak did poorly in the role.

Cornejo would have been an obvious choice for T&V; Gorak not at all an obvious choice for that killer role.

I'm guessing that this weekend might be the last time we see Simkin at ABT, since he is no longer a company member and only acquired these guest appearances because Whiteside was injured.  Simkin was a wonderful addition to the company. I hope he and Susan Jaffe can come to an agreement where he continues to appear with ABT.

I also wonder whether this will be the last run of Don Q for Cornejo, who is now 40 or 41.

CASTING ALERT

I was just browsing the ABT online calendar and it lists Bell  as tonight's Basilio with Shevchenko.  Wasn't that supposed to be Stearns' slot?  Please report if you are attending

Wow, great reports on Hurlin in Don Q.  Thanks to all.  Sorry to have missed it, but we opted to see the Met Orchestra at Carnegie, featuring Christine Goerke in Act I of Die Walkure.   Great performance.  So many important artists on NY stages.

Can't wait to see what Hurlin will do in Swan Lake. 

https://www.nytimes.com/2022/06/15/arts/dance/american-ballet-theater-don-quixote.html

Here is a review of opening night and the Brandt-Cornejo Don Q.

Here is the press release for next season at City Center.  Of greatest interest is the return of Tharp's company performing In the Upper Room and Nine Sinatra Songs, as well as a visit from Natl  Ballet of Canada.  Fall For Dance performances also look potentially interesting.

New York City Center announces
programming for 2022 – 2023 Season

Dance highlights include masterworks by Twyla Tharp and the return of new annual series: Artists at the Center and City Center Dance Festival

2023 Encores! Season
The Light in the Piazza, Dear World, and Lionel Bart’s Oliver!

Mary-Mitchell Campbell announced as Encores! Music Director

Tickets from $35 or less on sale for most performances Sep 6 for members;
Sep 13 for general public

Annual Gala Presentation Parade starring Ben Platt and Micaela Diamond
on sale today to general public

JUNE 14, 2022 (NEW YORK, NY) – Full programming for New York City Center’s 2022 – 2023 Season was announced today. Following last season’s successful reopening for live in-person performances, the 2022 – 2023 Season includes marquee series Fall for Dance Festival and Encores!, and the return of new annual dance series: Artists at the Center and City Center Dance Festival. Manhattan’s first performing arts center, New York City Center has presented the best in music, theater, and dance to generations of New Yorkers for nearly 80 years.

Fall 2022

The 2022 – 2023 Season opens with the 19th Fall for Dance Festival, September 21 – October 2. For the first time in three years, the Festival returns to presenting an international array of dance artists and companies in five unique programs, each featuring three different performances. Highlights include a City Center co-commission with Vail Dance Festival of Pam Tanowitz’s world premiere work featuring Melissa Toogood  and Herman Cornejo; the live premiere of Christopher Wheeldon’s 2020 digital Fall for Dance commission The Two of Us featuring Sara Mearns and Robbie Fairchild; and performances by Alvin Ailey American Dance Theater, soloists from Bavarian State Ballet (Germany), Compagnie Hervé Koubi (France), Dayton Contemporary Dance Company, Dutch National Ballet (Netherlands), Gibney Dance, Kyiv City Ballet (Ukraine), Nrityagram Dance Ensemble (India), and San Francisco Ballet. This year all Fall for Dance tickets will be $20, in keeping with City Center’s mission of accessibility. Ticket prices for Fall for Dance are increasing for the first time in 10 years, which will offset increased fees provided to Festival artists. Tickets go on sale on Sunday, August 28 at 11am. Full programming details will be announced in August. 

Following last fall’s triumphant TWYLA NOW program, one of the world’s most versatile choreographers Twyla Tharp returns to City Center October 19 – 23 with two of her most beloved works: In the Upper Room and Nine Sinatra Songs. Set to Philip Glass’s propulsive score with striking costumes by Norma Kamali, In the Upper Room (1986) is known for its full-throttle speed and broad spectrum of movement drawing from ballet, tap dance, boxing, and yoga. In contrast, Nine Sinatra Songs (1982) combines the charms of Tharp’s suave, jazzy style with some of Frank Sinatra’s most beloved pop standards recounting the varying phases of love through time.

As previously announced, the Annual Gala Presentation Parade, directed by Michael Arden and starring Micaela Diamond and Ben Platt, opens November 1 with a benefit performance followed by a gala dinner at the Ziegfeld Ballroom. Performances of Jason Robert Brown and Alfred Uhry’s Tony Award-winning musical run through November 6. Funds raised by all seven performances allow City Center to continue to provide access to the performing arts by subsidizing education programs and affordable tickets throughout the year. Tickets starting at $35 go on sale to the general public at noon today.

Fom November 15 – 27, a jazz-infused retelling of the classic holiday story Sugar Hill: The Ellington/Strayhorn Nutcracker, directed by Joshua Bergasse, celebrates the music and magic of the jazz heartbeat of Harlem in Sugar Hill.  A tribute to the joy of collaboration, the beauty of diversity, and the power of individuality.  Produced by David Garfinkle/Hello Entertainment, Willette Klausner, Dale Mott, Rob Quadrino, Brass Bull Productions, Billy Strayhorn Songs, Inc. and Schirmer Theatrical. Executive Producers A. Alyce Claerbaut, Robert Thompson, and Randall Buck.

The dancers of Alvin Ailey American Dance Theater will enliven the City Center stage for four weeks November 30 – December 24 with new works by Kyle Abraham and Resident Choreographer Jamar Roberts; Company premieres of Paul Taylor’s romantic DUET and Twyla Tharp’s carefree Roy’s Joys; and a new production of Alvin Ailey’s stirring Survivors, an impassioned tribute to the profound courage and terrible anguish of Nelson and Winnie Mandela. The season will also include returning favorites by Artistic Director Robert Battle, Aszure Barton, Rennie Harris, and Jawole Willa Jo Zollar, plus classics by Mr. Ailey including the beloved Revelations that “becomes brighter, its brilliance more memorable, every year” (The New York Times).

Winter - Spring 2023

The beloved musical theater series Encores! eagerly welcomes Mary-Mitchell Campbell for her first season as the new Music Director. A consummate interpreter of the work of Stephen Sondheim and a host of other Broadway greats, Campbell is widely respected for her work as a conductor, music director, orchestrator, composer, and arranger on productions like Road Show, The Prom, Some Like it Hot, and the 2006 revival of Company. She now takes up the baton leading the acclaimed Encores! Orchestra. Campbell joins Artistic Director Lear deBessonet and Producing Creative Director Clint Ramos for an exciting 2023 Encores! season of musical theater revivals that continue to expand the Encores! family of artists and audiences.

Starting February 1 – 5, director Chay Yew explores Craig Lucas and Adam Guettel’s Tony Award-winning musical The Light in the Piazza.  Tony winner Ruthie Ann Miles returns to the New York stage as Margaret Johnson, a 1950s American mother touring Florence with her daughter and struggling to embrace undreamt-of opportunities in the shadow of a tragic accident. Buoyed by Guettel’s lush score, Yew’s production transmutes the musical’s drama of encounter across barriers of language, culture, and ability into something as essential as it is revelatory.

Next is a hidden gem of the Broadway canon: Jerry Herman’s 1969 musical Dear World, March 15 – 19.  In this madcap musical fable, a motley band of outcasts must rally together to save their picturesque Chaillot neighborhood in Paris from a greedy cabal of oil-hungry bankers. Tony winner Donna Murphy takes on the musical’s giddy, garish heroine, Countess Aurelia, performing some of Herman’s sweetest and most sumptuous songs, including “I Don’t Want to Know,” “Kiss Her Now,” and “Each Tomorrow Morning.” This delightful romp, directed and choreographed by Josh Rhodes, blends Herman’s trademark optimism with a dash of social critique and a hint of ecological urgency: a perfect blend for our times.

Closing out the Encores! season is a special two-week run of Lionel Bart’s Oliver! (May 3 – 14), marking the musical’s first major New York production in nearly 40 years. Directed by Encores! Artistic Director Lear deBessonet, this landmark revival revels in the brassy, boisterous sound of such classics as “I’d Do Anything,” “Oom Pah Pah!,” and “Consider Yourself.” The story of a child who dares to trust in others, search for love, and ask for more in London’s seedy underworld, the coming-of-age tale promises to inspire a new generation of musical theater lovers.

Sara Baras and her company of dancers and musicians return to the annual Flamenco Festival March 23 – 26 with Alma, a love letter to flamenco’s origins which blends traditional flamenco elements with bolero rhythms. Winner of the 2020 Olivier Award for Outstanding Achievement in Dance, Baras (2019 Flamenco Festival) has built an international career as a dancer, director, and choreographer known for infusing classic forms of flamenco (most famously the farruca) with a powerfully modern sensibility.

For the first time in 15 years, The National Ballet of Canada takes the City Center stage March 30 – April 1 for unforgettable performances featuring live music by The National Ballet of Canada Orchestra. The evening includes Kenneth MacMillan’s 1966 Concerto, a classically inventive interpretation of Shostakovich’s Piano Concerto No. 2, followed by David Dawson’s Anima Animus (2018), a ferocious interplay between light and dark. Anchoring the program is Angels’ Atlas by Canadian icon Crystal Pite, an astonishing piece for 36 performers that became an unwitting requiem for life as we knew it when it premiered to rapturous reviews in February 2020.

One the world’s greatest tap dance talents and a longtime City Center collaborator, Ayodele Casel is the second featured artist-curator in the new Artists at the Center series. Casel expands her 2021 Fall for Dance commission Where We Dwell for Ayodele Casel | Artists at the Center (April 13 – 15) to further explore personal, cultural, and musical approaches to the quintessentially American tap form. Each of the series’ three unique programs include world-premiere City Center commissions alongside Where We Dwell, and features tap legends and frequent Casel collaborators including: Jared Alexander, Alexandra Bradley, Amanda Castro, Maurice Chestnut, Kurt Csolak, Naomi Funaki, Quynn Johnson, Ted Louis Levy, John Manzari, Anthony Morigerato, Caleb Teicher, Dre Torres, and vocalist Crystal Monee Hall.

From Apr 19 – 23, Dance Theatre of Harlem (DTH) returns to New York City Center with two dynamic programs celebrating the 10 years following the Company’s triumphant return to the stage. The DTH dancers shine in New York premieres by William Forsythe and Tiffany Rea-Fisher, as well as the return of George Balanchine’s joyous Allegro Brillante, and several audience favorites including works by Resident Choreographer Robert Garland. Presented in cooperation with New York City Center.

Ballet Hispánico, the nation’s largest Latinx cultural organization and one of America’s Cultural Treasures, returns to City Center after its critically acclaimed run of Doña Perón. From June 1 – 3, the Company presents a mixed program curated by Artistic Director & CEO Eduardo Vilaro, including the world premiere by celebrated Latina choreographer Michelle Manzanales and such popular repertory pieces as Club Havana and 18+1, among others. Presented in cooperation with New York City Center.

The City Center Dance Festival returns for its second year, this time in the form of a summer jam. For three exhilarating nights From the Street | City Center Dance Festival celebrates the propulsive diversity of rhythms and forms found in contemporary hip-hop. Creative Advisors Ephrat “Bounce” Asherie (artistic director of Ephrat Asherie Dance) and Adesola Osakalumi (co-creator of Jam on the Groove) assemble a high-octane program featuring a host of local, national, and international creators. Performance dates and programming details to be announced.

The Studio 5 series of conversations and performances is an opportunity to hear from today’s great dance artists in the intimate setting of City Center’s historic studios. Events throughout the season will be presented in person and on demand featuring artists from the mainstage programs and beyond—Fall for Dance Festival, Ayodele Casel | Artists at the Center, From the Street | City Center Dance Festival, George Balanchine’s The Nutcracker® in partnership with New York City Ballet, and more.

Manhattan Theater Club

Under the leadership of Artistic Director Lynne Meadow and Executive Producer Barry Grove, Manhattan Theatre Club (MTC) has made enormous contributions to American theater, producing bold new American plays and musicals at its Off-Broadway home at New York City Center Stages I and II. From acclaimed writer Jeff Augustin (The New Englanders at MTC, “The Morning Show”) comes Where the Mountain Meets the Sea, a timely story of a son’s quest to connect with his father, directed by Princess Grace Award winner Joshua Kahan Brody. Reuniting with director May Adrales, Qui Nguyen (Vietgone) returns to MTC with the second play of his autobiographical trilogy. Told from the mother’s perspective, Poor Yella Rednecks is the story of a young family’s attempt to put down roots in Arkansas, a place as different from Vietnam as it gets. Tony and Pulitzer Prize-winning author David Auburn (Proof, The Columnist) returns to MTC with Summer, 1976, a deeply moving, tenderly insightful new play about friendship, memory, and the small moments that can change the course of our lives forever. Directing is Tony winner Daniel Sullivan (Proof, Lillian Hellman’s The Little Foxes).

Tickets and General Information

Tickets start at $35 and go on sale at noon on September 6 to members and September 13 to the general public for Artists at the Center¦ Ayodele Casel, Flamenco Festival, The National Ballet of Canada, From the Street ¦ City Center Dance Festival, Studio 5, and Twyla Tharp. Fall for Dance Festival tickets go on sale Sunday, August 28 at 11am, with all tickets $20. Tickets for Alvin Ailey American Dance Theater go on sale October 11 to the general public.

Current subscribers may renew their Encores! subscriptions now through July 15. New Encores! subscriptions for members are available starting August 2 and for the general public starting August 9. Single tickets go on sale to members September 29 and to the general public on October 6.

Tickets can be purchased online at NYCityCenter.org, by calling 212.581.1212, or in person at the City Center Box Office. New York City Center is located at 131 W 55th St between Sixth and Seventh avenues.

NEW YORK CITY CENTER (Arlene Shuler, President & CEO) has played a defining role in the cultural life of the city since 1943. Manhattan’s first performing arts center, City Center was founded by Mayor Fiorello La Guardia with the mission of making the best in the performing arts accessible to all audiences. This commitment continues today through celebrated dance and musical theater series like the Fall for Dance Festival and the Tony-honored Encores! series, as well as a continued dedication to a culture built on the principles of diversity, equity, and inclusion. The distinctive neo-Moorish theater welcomes more than 300,000 annual visitors to experience internationally acclaimed artists on the same stage where legends like George Balanchine, Leonard Bernstein, Barbara Cook, José Ferrer, Martha Graham, and Paul Robeson made their mark. Home to a roster of renowned national and international companies including Alvin Ailey American Dance Theater (City Center’s Principal Dance Company) and Manhattan Theatre Club, City Center’s dynamic programming, art exhibitions, and studio events are complemented by education and community engagement programs that bring the performing arts to thousands of New York City students, teachers, and families every year, from all five boroughs. NYCityCenter.org
NEW YORK CITY CENTER
2022 – 2023 SEASON CALENDAR
Tickets from $35 or less; On sale for most performances Sep 6 for members; Sep 13 for general public
 
FALL FOR DANCE FESTIVAL
Sep 21 – Oct 2, 2022
Week 1: Wed – Sat 8pm
Week 2: Tues – Sat 8pm; Sun 3pm
All tickets $20
 
TWYLA THARP ¦ In the Upper Room & Nine Sinatra Songs
Oct 19 – 23, 2022
Wed – Sat 8pm, Sun 2pm

In the Upper Room
Choreography by Twyla Tharp ¦ Music by Philip Glass

Nine Sinatra Songs
Choreography by Twyla Tharp ¦ Music by Frank Sinatra
 
Annual Gala Presentation
Parade
Nov 1 – 6, 2022
Tue 6pm (Gala), Wed – Fri 7:30pm, Sat 2 & 8pm, Sun 2pm
Tickets on sale now

Book by Alfred Uhry
Music and Lyrics by Jason Robert Brown
Co-Conceived and Directed on Broadway by Harold Prince
Based on the true story of the trial and lynching of Leo Frank
Directed by Michael Arden
Starring Micaela Diamond and Ben Platt
 
Sugar Hill: The Ellington/Strayhorn Nutcracker  
Nov 15 – 27, 2022 

Libretto and Concept by Jessica Swan
Orchestrations and arrangements by John Clayton, Larry Blank, Duke Ellington, and Billy Strayhorn
Music direction by Rob Cookman
Dance arrangements by Mark Hummel
Featured Choreography by Graciela Daniele, Carmen de Lavallade, Caleb Teicher, Malaena Eagle, Jon Boogz and Joshua Bergasse
Choreography by Jade Hale-Christofi
Directed by Joshua Bergasse

Produced by David Garfinkle/Hello Entertainment, Willette Klausner, Dale Mott, Rob Quadrino, Brass Bull Productions, Billy Strayhorn Songs, Inc. and Schirmer Theatrical. Executive Producers A. Alyce Claerbaut, Robert Thompson, and Randall Buck.
 
ALVIN AILEY AMERICAN DANCE THEATER
Nov 30 – Dec 24, 2022
Tickets start at $29
On sale Oct 11



Encores!
The Light in the Piazza
Feb 1 – 5, 2023
Wed – Fri 7:30pm, Sat 2pm & 8pm, Sun 2pm & 7pm

 Book by Craig Lucas
Music and Lyrics by Adam Guettel
Produced by arrangement with Turner Entertainment Co.
Owner of the original motion picture The Light In The Piazza
Based on the Novel by Elizabeth Spencer
Directed by Chay Yew
Starring Ruthie Ann Miles 

Encores!
Dear World
Mar 15 – 19, 2023
Wed – Fri 7:30pm, Sat 2pm & 8pm, Sun 2pm & 7pm 

Music and Lyrics by Jerry Herman
Book by Jerome Lawrence and Robert E. Lee
Based on The Madwoman of Chaillot by Jean Giraudoux as adapted by Maurice Valency
Directed and choreographed by Josh Rhodes
Starring Donna Murphy
 
New York City Center and Flamenco Festival present
FLAMENCO FESTIVAL
Sara Baras
Alma
Mar 23 – 26, 2023
Thu – Sat 8pm, Sun 3pm
 
New York City Center and The National Ballet of Canada present
THE NATIONAL BALLET OF CANADA
Mar 30 – Apr 1, 2023
Thu & Fri 7:30pm, Sat 2pm & 7:30pm 

Featuring live music by The National Ballet of Canada Orchestra

 Concerto
Choreography by Kenneth MacMillan ¦ Music by Dmitri Shostakovich, Piano Concerto No. 2

Anima Animus
Choreography by David Dawson ¦ Music by Ezio Bosso, Violin Concerto No. 1

Angels’ Atlas
Choreography by Crystal Pite ¦ Music by Owen Belton, Morten Lauridsen, Pyotr Ilyich Tchaikovsky
 
AYODELE CASEL ? ARTISTS AT THE CENTER
Apr 13 – 15, 2023
Thu – Sat 8pm

DANCE THEATRE OF HARLEM
Apr 19 – 23, 2023

Press Contact: Billy Zavelson, billy@kornbergpr.com (mailto:billy@kornbergpr.com)
 
Encores!
Lionel Bart’s
Oliver!

Special two-week run
May 3 – 14, 2023
Week 1: Wed – Fri 7pm, Sat 2 & 8pm, Sun 2 & 7pm
Week 2: Tue – Fri 7pm, Sat 2 & 8pm, Sun 2pm

Book, Music and Lyrics by Lionel Bart
By Special Arrangement with Cameron Mackintosh
Directed by Lear deBessonet
 
BALLET HISPÁNICO
Jun 1 – 3, 2023

Club Havana
Choreography by Pedro Ruiz | Music by Israel Lopez, Rubén Gonzales, A.K. Salim, Pérez Prado, and Francisco Repilado

18+1
Choreography by Gustavo Ramírez Sansano | Music by Pérez Prado

New work
Choreography by Michelle Manzanales

Press Contact: Michelle Tabnick, michelle@michelletabnickpr.com (mailto:michelle@michelletabnickpr.com)
 
FROM THE STREET | CITY CENTER DANCE FESTIVAL
Jul 2023
Ephrat Asherie and Adesola Osakalumi, Creative Advisors

Performance dates and programming details to be announced.

STUDIO 5

The Barbara and David Zalaznick Studio
Mondays at 6:30pm

In-person and on demand
 
FALL FOR DANCE FESTIVAL
Sep 12
Sara Mearns and Robbie Fairchild preview The Two of Us
With choreographer Christopher Wheeldon
Linda Murray, moderator 

BOOK LAUNCH FOR MR. B: GEORGE BALANCHINE'S 20TH CENTURY
Nov 14
Featuring dancers from New York City Ballet
With Jennifer Homans
Alastair Macaulay, moderator
 
GEORGE BALANCHINE’S THE NUTCRACKER®
Dec 5
Featuring dancers from New York City Ballet
Alastair Macaulay, moderator
 
AYODELE CASEL | ARTISTS AT THE CENTER
Mar 6
Featuring Naomi Funaki, Crystal Monee Hall, Dre Torres
With Torya Beard and Ayodele Casel
Aaron Mattocks, moderator

FROM THE STREET | CITY CENTER DANCE FESTIVAL
May 22
Ephrat Asherie and Adesola Osakalumi, co-moderators

MANHATTAN THEATRE CLUB

NEW YORK CITY CENTER STAGE I

Where the Mountain Meets the Sea
By Jeff Augustin
Directed by Joshua Kahan Brody
Music by The Bengsons

Previews begin Fall 2022

From acclaimed writer Jeff Augustin (The New Englanders at MTC, The Morning Show) comes a timely story of a son’s quest to connect with his father. Lyrical story-telling and live folk songs from The Bengsons weave a tale of searching and longing, family and legacy. A Haitian immigrant travels from Miami to California on a once-in-a-lifetime road trip. Years later, his son makes the same journey in reverse. Along the way, blurring the lines of time, these two finally discover common ground and make a connection that has eluded them for decades. Directing is Princess Grace Award winner Joshua Kahan Brody

Poor Yella Rednecks
By Qui Nguyen
Directed by May Adrales

Previews begin Spring 2023

The author of the acclaimed Vietgone returns to MTC with the second play of his autobiographical trilogy about an immigrant family’s bumpy road to the American dream. Told from the mother’s perspective, Poor Yella Rednecks is the story of a young family’s attempt to put down roots in Arkansas, a place as different from Vietnam as it gets. The production, filled with infectious music and unexpected humor, will reunite Qui Nguyen with director May Adrales for the next chapter in this highly entertaining and moving tale.
 
NEW YORK CITY CENTER STAGE II

Summer, 1976
By David Auburn
Directed by Daniel Sullivan
2022 – 2023 Season

Tony and Pulitzer Prize-winning author David Auburn (Proof, The Columnist) returns to MTC with a deeply moving, tenderly insightful new play about friendship, memory, and the small moments that can change the course of our lives forever. Over one fateful summer, an unlikely friendship develops between Diana, a fiercely iconoclastic artist and single mom, and Alice, a free-spirited yet naive young housewife. As the Bicentennial is celebrated across the country, these two young women in Ohio navigate motherhood, ambition, and intimacy, and help each other discover their own independence. Directing is Tony winner Daniel Sullivan (Proof, Lillian Hellman’s The Little Foxes).

I agree with most of what Faux Pas said above.  Hurlin was very impressive and I can't wait to see her in more roles.  She has very strong technique and her partnership with  Bell was an excellent pairing.  Misseldine is definitely someone to watch as she rises through the ranks. She made a big impression in her role as a flower girl.  So do Fleytoux as Amour.  I liked Camargo much more than Faux Pas.  I thought he was exciting.  

I thought that most of the house looked considerably undersold.  That was the most depressing aspect of the evening.  In the old days, opening night of ABT used to sell very well.

Not sure if this has been posted already, but for tomorrow's gala, Daniel Camargo is replacing Cory Stearns as Basilio.  (Stearns is still listed for later in the week as Basilio.).  Nothing against Stearns, but I am curious to see Camargo. 

There are snippets of melodies from the Adam Giselle score woven into various portions of the ballet.   (All music for this production is recorded, not live.)

When Martins was running the company, did they regularly bring programs of all new works to the Kennedy Center?  My recollection is that they did bring new works, but they were sandwiched into programs that had some Balanchine & Robbins.  I'm thinking that the influence of Wendy Whelan may be the cause of this approach.  If you're going to bring all new works for a once a year visit, they need to be stellar  works.  

Why is the word "Acting" in front of her title position.  Does that mean that she does not have the job permanently?  Is this an interim job while they look for someone permanent?