Roster Changes at ABT

[cobweb]

I also recall loving Leann Underwood in Giselle. She is someone I always wanted to see more of, in larger roles. Best wishes to her!

[Helene]

Just your taste. Just like mine cannot accept an Aurora who bombs the Rose Adagio or who bombed the Flames of Paris pdd at the Kennedy Center (with Simkin) a few years ago. "Many dance fans" witnessed that and chose to look the other way but when Misty breathes incorrectly, she is smacked her down. All of this stinks of racism.

Another possibility is that people who support their favorites will exaggerate the flaws of his or her rivals, usually repeatedly, and on a discussion board, in multiple threads, to counter any argument to the contrary in support of those favorites.

[volcanohunter]

[mimsyb]

I agree with Natalia. Sarah Lane has not necessarily proven herself as being ready for principal status at this time. Her work in SB was overall very good, but she simply has not been given enough roles to demonstrate the consistency of her work. That's McKenzie's failing, not Sarah's. But, McKenzie has also promoted others who also were, in my opinion, not ready for principal status. Hee Seo is one example, although she has improved a lot since the time she was promoted. Ditto Cory Stearns, who has also improved over the years.

It is unfortunate that McKenzie has gone out and hired Kochetkova for a permanent place at ABT, which, I believe, will significantly diminish Sarah's potential opportunities for roles. In my opinion, Kochetkova's presence will probably end up being a permanent barrier to Sarah's potential advancement. The roster of short, small ballerinas for lead roles is now pretty full. Without Kochetkova, I might have guessed that Sarah had a chance for promotion in a year or two, depending on how things went. Now, I believe there is no real chance that she will end up with a promotion at ABt in the next few years. The guest artists strike again.

Lane has done some excellent work and given many excellent performances, and I hope Lane will be given some more chances at additional lead roles so that her signficant talents can further develop and emerge. I do like Lane's dancing very much, and will always come to the theater to see her whenever she is cast. I would love to see her given a chance at Lise, Giselle or O/O. That wish probably won't come true.

McKenzie has difficulty seeing the value of people who are right in front of his nose, and Sarah is the victim of that myopic view. If the confluence of events had not resulted in a situation where (a) Abrera was ready to perform Giselle due to her recent guest appearances elsewhere and (2) Polina's absence left a spot open for a Giselle, I have a feeling Stella might never have been elevated either.

Companies need good, solid dancers in the "soloist" category also. Despite some wonderful performances in lead roles, is there any possibility that McKenzie needs a dancer such as Sarah in his soloist ranks at this particular moment? I look at someone like Craig and think he's where he is because he too is a very solid performer in the middle rankings. She may see it otherwise (as do many of us), but mid-rank performers are very necessary to the overall strength of a company. Plus they really get to dance more often than Principals (unless, of course you are Hee Seo!) While I also believe that more should be done to train and coach those in the company who are not of Principal rank, sometimes it might be better to remain a soloist, dance more often (perhaps with a few Auroras and "T&Vs" thrown in) than to have the extreme pressure of being a Principal. Or in the case of Veronika Part, totally underused. We do not know at this time what the rep will look like for either the Fall or next Spring. But it may be more advantageous for Sarah to be a soloist at this time.

[canbelto]

I'd say that Sarah's problem is that she's not really a Met 8-week season kind of ballerina. The Met is a huge stage, huge auditorium, and favors dancers that "dance big." Sarah's kind of dancing (fast, precise, skilled at petit allegro) is probably much better seen in smaller stages and auditoriums. She also doesn't have the kind of stage face that can project to the auditorium either -- she's very pretty, but her features aren't very distinctive in the harsh lights and the extremely tall proscenium of the Met auditorium.

I noticed this when I was watching her Sleeping Beauty. She and Herman are both small dancers, but Herman has a stage face. Strong features that projected well even when saddled with that George Washington hat and curly wig. Sarah's face looked inscrutable. Also, comparing her Aurora to Diana Vishneva -- I've seen Vishneva up close many times and she definitely doesn't look 16. But her big eyes, big smile, from far away she gives the look of a 16 year old girl (still).

The Met season also heavily favors dancers who can carry the "classics" like Juliet or O/O. I bet if the ABT started performing more pas de deuxs and repertory programs Sarah would be cast more.

This is the sort of thing where Sarah shines:

[Dancerboy90210]

This might be a wild suggestion, but ever think that Lane could decamp to New York City Ballet? Might be a stretch, because I don't think she ever trained at SAB. She could occupy Fairchild/Bouder roles. With Fairchild on leave and Bouder's injuries, Lane could be a viable alternative to Pereira who often seems to pick up the slack. Someone mentioned earlier that Lane might be better suited for mixed bill programing and not major full lengths. I would love to see her do Juliet, even if it must be the Martin's version.

[KarenAG]

Many congratulations to Stella, Misty and the corps dancers who were promoted to soloists. I'm very happy for both Misty and Stella for different reasons, but I'm sad about Sarah Lane; in my opinion, she should have been promoted rather than Maria Kochetkova. I don't agree that Sarah hasn't proven herself to be principal-ready. I think the same could be applied to Misty, whose dancing yet may not be principal quality but will as a principal, have opportunities to hone her technique and art. I don't think for one minute that Sarah would do otherwise had she been promoted. I think she should cast about for a principal position with another company. Not sure how she would fare at NYCB as dancerboy90210 contemplates, but who knows? I definitely do not like how she's been treated at ABT. She deserves better.

[KarenAG]

I'd say that Sarah's problem is that she's not really a Met 8-week season kind of ballerina. The Met is a huge stage, huge auditorium, and favors dancers that "dance big." Sarah's kind of dancing (fast, precise, skilled at petit allegro) is probably much better seen in smaller stages and auditoriums. She also doesn't have the kind of stage face that can project to the auditorium either -- she's very pretty, but her features aren't very distinctive in the harsh lights and the extremely tall proscenium of the Met auditorium.

The Met season also heavily favors dancers who can carry the "classics" like Juliet or O/O. I bet if the ABT started performing more pas de deuxs and repertory programs Sarah would be cast more.

As a soloist, isn't Sarah on the stage alot? Has Hee Seo commanded an 8-week season without problems? In Bayadere, Hee was swallowed up by the stage, in my opinion. In fact, I think she was seriously miscast as Nikiya because she had very little stage presence in that role and definitely did not 'dance big', which I define as being able to reach the audience on many levels. As for the classics, throughout this ABT season, many posters commented that Sarah Lane should have had opportunities to dance Juliet, a very lyrical part for Sarah's strengths. And I think she would have been a lovely Nikiya, as well.

[vipa]

Another possibility is that people who support their favorites will exaggerate the flaws of his or her rivals, usually repeatedly, and on a discussion board, in multiple threads, to counter any argument to the contrary in support of those favorites.

I actually believe that the likeliest possibility is that when an audience member gets something special from a particular performer that performer's technical lapses become miniscule. I've expressed this view before. My example in opera is Natalie Dessay. I have been in the audience when she didn't quite hit a note but that wasn't my take away. I've seen Cojocaru badly stagger out of turns from fifth in Don Q, I've seen Maria K over at NYCB have near disasters in Symphony in C. That does not diminish them as great artists in my mind. I am a fan of Sarah Lane's because of what I view as a purity of line, beauty of port de bras and rare classicism. For me personally I will overlook a technical lapse here and there in her case. If I see a dancer who in no way takes me to another place I focus on the technical lapses. In NYCB that's Erica Perreira in ABT that's Seo Hee and Misty Copeland. That's how I see things as an audience member. It has nothing to do with promoting my favorite and it certainly has nothing to do with race.

[Helene]

I'm not sure if your possibility is the likeliest, vipa, but it's a very strong one.

[vipa]

I'm not sure if your possibility is the likeliest, vipa, but it's a very strong one.

Thank you

[KarenAG]

I actually believe that the likeliest possibility is that when an audience member gets something special from a particular performer that performer's technical lapses become miniscule. I've expressed this view before. My example in opera is Natalie Dessay. I have been in the audience when she didn't quite hit a note but that wasn't my take away. I've seen Cojocaru badly stagger out of turns from fifth in Don Q, I've seen Maria K over at NYCB have near disasters in Symphony in C. That does not diminish them as great artists in my mind. I am a fan of Sarah Lane's because of what I view as a purity of line, beauty of port de bras and rare classicism. For me personally I will overlook a technical lapse here and there in her case. If I see a dancer who in no way takes me to another place I focus on the technical lapses. In NYCB that's Erica Perreira in ABT that's Seo Hee and Misty Copeland. That's how I see things as an audience member. It has nothing to do with promoting my favorite and it certainly has nothing to do with race.

I quite agree with you, Vipa. The ability for ballet dancers to create poetry within the confines of the choreography itself, and outside its confines by artistic and dramatic expression is what is most important to me. Technical flaws or lapses become secondary for me.

[Pique Arabesque]

I actually believe that the likeliest possibility is that when an audience member gets something special from a particular performer that performer's technical lapses become miniscule. I've expressed this view before. My example in opera is Natalie Dessay. I have been in the audience when she didn't quite hit a note but that wasn't my take away. I've seen Cojocaru badly stagger out of turns from fifth in Don Q, I've seen Maria K over at NYCB have near disasters in Symphony in C. That does not diminish them as great artists in my mind. I am a fan of Sarah Lane's because of what I view as a purity of line, beauty of port de bras and rare classicism. For me personally I will overlook a technical lapse here and there in her case. If I see a dancer who in no way takes me to another place I focus on the technical lapses. In NYCB that's Erica Perreira in ABT that's Seo Hee and Misty Copeland. That's how I see things as an audience member. It has nothing to do with promoting my favorite and it certainly has nothing to do with race.

I think that Helene's point was also that one does not necessarily need to be "Team Lane/Abrera" or "Team Copeland," especially when there is likely some overlap in their fanbase outside of BA. Personally, I find Copeland's port de bras to be very expressive, and I believe that her promotion was deserved. I also enjoy Lane's dancing, and would like to see her in more principal roles. But these are also my subjective observations as well.

[mussel]

I am 110% certain that Eric Tamm would have been promoted had he stayed. I felt tremendous sense of loss when he left, the current promotion kind of resurrects that sentiment.

[laurel]

I'd say that Sarah's problem is that she's not really a Met 8-week season kind of ballerina. The Met is a huge stage, huge auditorium, and favors dancers that "dance big." Sarah's kind of dancing (fast, precise, skilled at petit allegro) is probably much better seen in smaller stages and auditoriums. She also doesn't have the kind of stage face that can project to the auditorium either -- she's very pretty, but her features aren't very distinctive in the harsh lights and the extremely tall proscenium of the Met auditorium.

I don’t believe anyone here would be questioning Sarah Lane’s skills or presence on stage or alleged “8-weeks at the Met” nonsense had they seen her two years ago in her Wed. matinee performance in the old Sleeping Beauty. This was a tour-de-force of skill, stamina, energy, expressiveness and lyrical beauty like none else. Her Rose Adagio was so strong and secure that applause broke out while she was still with the third suitor, and she appeared not to need any of them to maintain balance. This was also the performance in which her partner, Simkin, almost dropped her twice in the third act due to his near non-existent partnering skills, nearly wrecking this great moment for her. She was the best Aurora that season, and this was only a year after her Swan Lake in Barcelona with Angel Corella, a tiny clip of which still can be seen on youtube, for those who don’t understand what they may have missed. This was absolutely the moment for her promotion, and why it was ignored and passed over is something only the AD can tell us. Lane is not an aggressive, muscular dancer like Boylston & Copeland, who attack each step with force and gusto, to the delight of audiences. If her beautiful poetic style is out of fashion these days, then it’s our loss.

[Bored_on_Wall_Street]

I don’t believe anyone here would be questioning Sarah Lane’s skills or presence on stage or alleged “8-weeks at the Met” nonsense had they seen her two years ago in her Wed. matinee performance in the old Sleeping Beauty. This was a tour-de-force of skill, stamina, energy, expressiveness and lyrical beauty like none else. Her Rose Adagio was so strong and secure that applause broke out while she was still with the third suitor, and she appeared not to need any of them to maintain balance. This was also the performance in which her partner, Simkin, almost dropped her twice in the third act due to his near non-existent partnering skills, nearly wrecking this great moment for her. She was the best Aurora that season, and this was only a year after her Swan Lake in Barcelona with Angel Corella, a tiny clip of which still can be seen on youtube, for those who don’t understand what they may have missed. This was absolutely the moment for her promotion, and why it was ignored and passed over is something only the AD can tell us. Lane is not an aggressive, muscular dancer like Boylston & Copeland, who attack each step with force and gusto, to the delight of audiences. If her beautiful poetic style is out of fashion these days, then it’s our loss.

I see a lot of ballet. So, sometimes (often) performances blur together. But Lane's performance on that Wednesday in July 2013 is still etched into my mind.

[volcanohunter]

If her beautiful poetic style is out of fashion these days, then it’s our loss.

A lamentable prospect indeed.

[stuben]

I don’t believe anyone here would be questioning Sarah Lane’s skills or presence on stage or alleged “8-weeks at the Met” nonsense had they seen her two years ago in her Wed. matinee performance in the old Sleeping Beauty. This was a tour-de-force of skill, stamina, energy, expressiveness and lyrical beauty like none else. Her Rose Adagio was so strong and secure that applause broke out while she was still with the third suitor, and she appeared not to need any of them to maintain balance. This was also the performance in which her partner, Simkin, almost dropped her twice in the third act due to his near non-existent partnering skills, nearly wrecking this great moment for her. She was the best Aurora that season, and this was only a year after her Swan Lake in Barcelona with Angel Corella, a tiny clip of which still can be seen on youtube, for those who don’t understand what they may have missed. This was absolutely the moment for her promotion, and why it was ignored and passed over is something only the AD can tell us. Lane is not an aggressive, muscular dancer like Boylston & Copeland, who attack each step with force and gusto, to the delight of audiences. If her beautiful poetic style is out of fashion these days, then it’s our loss.

Thanks for the reminder laurel! I recall her performance as well and I believe that was my first time seeing Simkin partner, and felt he wasn't ready then. Lane remains a special place in my heart and, I too cannot understand, like many on BA as to why she was overlooked again :/ As for Simkin, I still love him in his solos but still have my doubts about his partnering, as recent as the Swan Lake with Boylston, IMO she was holding her own and it seemed as if he was concentrating so much they lost the connection, at certain parts it was quite evident that he wanted to be sure she was partnered well and forgot the theatrics part. Thus far he did very well as Bluebird, however, that was not a full length ballet and not quite as intense of partnering as SL or SB. I wish only the best for Lane and IMO, it remains to be seen with Simkin's partnering skills.

[abatt]

The problem is that Lane, for the most part, continues in the same roles she has been doing for years. McKenzie doesn't really give her the opportunity for growth. The same thing was true about Abrera. Her only full length lead this year was supposed to be Cinderella, which she has been doing for a period of years (albeit with different choreography). Her appearance in Giselle was a fluke, a completely out of left field opportunity brought about by circumstance. It was at that performance that McKenzie probably fully realized the extent of her ability, and also became more keenly aware of a pent up demand among a segment of ABT's audience to see her in lead roles.

Going back to the issue of money, the retirements this year may have freed up a lot of money going forward. However, I wonder how much difference in pay there is between being a very senior soloist and a brand new principal. Given the lengths of their tenure, I would guess that both Misty and Stella were probably paid at the highest soloist level available under the union contracts. The promotion to principal may not be costing ABT all that much additional money. Obviously, the issue of status is huge. Let's hope that McKenzie doesn't moth ball Stella in the way he has done to Simkin. Even though Simkin is a principal he is doing very few principal roles.

[vagansmom]

While I appreciate and agree with your point, abatt, about new roles offering dancers a chance to grow, I think there is still a way for Lane to get McKenzie to take a fresh look at her. Part of being a dancer means that one should be able to find new ways to interprete the same choreography, to make it fresh each time. As a musician, I explore different "voices" on my instruments; I play with dynamics, with attack. One piece of music then becomes many, depending on how I choose to vary the phrasing. My experience watching Lane is that she is a beautiful, precise dancer, but it's nearly all legato. I think one can maintain the poetry of dance while still exploring its dynamics. I think Lane is a little too safe and needs to take some risks. It may wake McKenzie up to see her do so.

[mimsyb]

The problem is that Lane, for the most part, continues in the same roles she has been doing for years. McKenzie doesn't really give her the opportunity for growth. The same thing was true about Abrera. Her only full length lead this year was supposed to be Cinderella, which she has been doing for a period of years (albeit with different choreography). Her appearance in Giselle was a fluke, a completely out of left field opportunity brought about by circumstance. It was at that performance that McKenzie probably fully realized the extent of her ability, and also became more keenly aware of a pent up demand among a segment of ABT's audience to see her in lead roles.

The same could be said about Veronika Part. Just not used enough. I'm hopeful Stella doesn't get "mothballed", as you say. She has yet to be seen in other roles at ABT other than her "Giselle", and the hope is that the rep going forward will afford her many opportunities to shine. I'd love to see her do "Bayadere", or "Corsaire". Kitri, even. And next year at the Met she should dance Aurora. (which I'm pretty sure will be repeated again). So much depends on what's offered in the rep.

[abatt]

Actually, he was giving Part some wonderful new roles a few years ago like Kitri and Medora, but things seem to have dried up this year. Maybe next season she will at least get her Medora role back.

[miliosr]

Let's hope McKenzie doesn't moth ball Stella in the way he has done to Simkin. Even though Simkin is a principal he is doing very few principal roles.

Is that Mc Kenzie's fault or does Simkin have certain limitations that will always prevent him from carrying the kind of workload that Cornejo, Gomes, Stearns and Whiteside carried this season? Simkin is short, slight, looks like a teenager (even though he is in his late-20s) and has trouble still with partnering. We'll have to agree to disagree on this but I question whether he ever should have been promoted in the first place.

As for the freed-up revenue generated by the retirements of Kent, Herrera and Reyes, I don't think the issue is so much the issue of the Abrera and Copeland promotions but, instead, the totality of what the company was able to do: 2 promotions from soloist to principal, 5 promotions from corps to soloist, 2 additions as half-time principals and 1 addition as a full-time soloist. The additional revenue may have created opportunities that, otherwise, would have been more modest.

[Dancerboy90210]

I think the promotions also hint to 2016 Met Season programing. I think Simkin will have a better season next year, especially if they bring back Don Q and Corsaire. I think this season was heavy on ballets such as Romeo and Juliet, Giselle, Othello, etc, to give Kent a strong final season. Poor Herrera and Reyes only got their Giselle. Also to prepare Copeland for her "promotion", which was impossible to ignore as she pursued her PR campaign. Juliet was a much better ballet for her than say Don Q! I also think Vishneva probably has heavy demands on what she will and will not dance. Kevin will still have to accommodate Vishneva next season, which I feel will benefit Part, Abrera and Semionova. So Kevin now has a group of more lyrical dancers and another group of more technical dancers. Kevin can't really ignore Vishneva on casting, in the way that he does Part, because she is a big box office draw and her dancing years are likely winding down. I hope we get to see Abrera as Manon, Juliet, and of course another Giselle. I don't think she would be cast as Kitri (especially given the number of capable dancers Kevin could cast). I think if Part gets another go, it would likely be the 2pm Wednesday performance. I think that slot might be better for a debut with Brandt (or Lane) with Jeff Cirio. Simkin will probably stay with Bolyston and Cornejo will likely dance with Kochetkova. Lane will have a lot of competition with Brandt and Trenary rising to soloist. In a way they're going to be competing for similar roles and a limited amount of partners. I hope Abrera gets paired up with solid partners (Hallberg, Gomes, Bolle, etc) in whatever she is cast in. I wouldn't want to see her with Stearns, etc. Her partnership with Shkylarov was so promising that I hope they get more opportunities to dance together. I could see Abrera getting a go at Medora. I'll be interested to see if and what new work Ratmansky might present next season. Maybe a new Raymonda? I doubt it would be Corsaire, because they just spent money on new sets and costumes. Maybe a new Swan Lake? He could bring in a new full-length ballet such as Paquita, or Flames of Paris. Maybe bring in Ratmansky's Don Q, but I think ABT has a pretty solid production. I would love for them to bring in Marco Spada or some "wild-card" to generate some excitement on the programing side.

[Helene]

Herrera was also cast as Aurora in the most-publicized new production in many years, a role she danced in the LA preview. She opted not to dance the role, which is why Giselle was her farewell. Her last season didn't coincide with much of her standard rep, which was also centered around guest.