Spring 2015: Romeo and Juliet

[terrynyc]

In the past several years, Bolle has been an incredibly consistent and reliable artist. 2 years ago, when Hammoudi was first injured, Bolle and Marcello each picked up one of his performances. I had tickets for Hammoudi/Seo in R&J because I had seen great potential from Hammoudi in the past. Of course, I was thrilled that Bolle was the replacement. He was wonderful with Seo. A truly expert partner, he really helped her to be her best as Juliet, and I thought she was lovely and moving in every way. Later that week I saw Bolle with Kent, and I have to say, that for me, that is the ultimate partnership in this ballet - I can't wait for tomorrow night.

By the way, I went to Bolle's book signing last week at Barnes and Noble. They showed the little film, PASSAGE, that he and Semianova did. Turns out that was filmed at a warehouse in Red Hook that same week ad the R&J's. The water was evidently really cold and Bolle said he was sure he was going to get bronchitis. Anyway, to have 2 such experienced, gorgeous dancers as Gomes and Bolle at the top of their game at ABT is something to celebrate.

Also, Bolle hired Seo for his Bolle & Friends. I already liked her, but the fact that he puts his faith in her gives her extra points in my book. She is not just some favorite of KM's.

[terrynyc]

In the past several years, Bolle has been an incredibly consistent and reliable artist. 2 years ago, when Hammoudi was first injured, Bolle and Marcello each picked up one of his performances. I had tickets for Hammoudi/Seo in R&J because I had seen great potential from Hammoudi in the past. Of course, I was thrilled that Bolle was the replacement. He was wonderful with Seo. A truly expert partner, he really helped her to be her best as Juliet, and I thought she was lovely and moving in every way. Later that week I saw Bolle with Kent, and I have to say, that for me, that is the ultimate partnership in this ballet - I can't wait for tomorrow night.

By the way, I went to Bolle's book signing last week at Barnes and Noble. They showed the little film, PASSAGE, that he and Semianova did. Turns out that was filmed at a warehouse in Red Hook that same week ad the R&J's. The water was evidently really cold and Bolle said he was sure he was going to get bronchitis. Anyway, to have 2 such experienced, gorgeous dancers as Gomes and Bolle at the top of their game at ABT is something to celebrate.

Also, Bolle hired Seo for his Bolle & Friends. I already liked her, but the fact that he puts his faith in her gives her extra points in my book. She is not just some favorite of KM's.

[Bored_on_Wall_Street]

Problem is, it was so inexpressive that she could have been dancing Manon, or the Thais pas de deux, There was no articulation of Juliet's personality in her dancing. She acted, she attempted to express emotion facially, but her dancing was blank. This Juliet was an empty suit. Blech.

Pretty much this. Much of the choreography just requires Juiet to be carried and/or dragged around, and Seo, as a great looking and skilled dancer, looked great doing so. But MacMillan's ultimately a dramatist, and Seo simply has no acting ability, and just follows the steps, alternating between HAPPY ( ) and, SAD ( ) face. I think she has improved as a dancer, and am not inclined to join the Seo hate parade, but it speaks volumes as to the state of this company, and the competence of the AD, that she is forced the perform this role 3x in a week.

[Kaysta]

I feel very badly for Hee Seo. She's been such a trouper taking on so many performances, filling in at the last minute for all these cancellations, which must be incredibly physically demanding and exhausting...and yet, she's incurring the wrath of so many simply because she's "not Osipova" or "not Vishneva." So many performances may not have happened if she weren't ready and willing to fill in when others could or would not. She may not be Vishneva/Semionova/Osipova/etc, but she does have some lovely qualities of her own that I'm glad some do appreciate. It signals a bigger problem with management if there is only one person who is able to pick up the slack, which is unfortunate due to the retirements, injuries, and illnesses this season, but Seo herself should not be blamed for this.

As an employee for ABT, she has certainly earned her keep, and I do hope she is compensated accordingly. They are both principals, but by this spring season's end, she will have appeared in 18 performances vs. Vishneva's...3.

I agree with all of this. Do you think Seo wanted to go on last night, at the last minute, in an audience filled with people expecting Vishneva?

This is not Hee's fault, this is KM's fault for stifling the soloists and corps.

I also agree with Aurora that Hee's acting was good on Wednesday night, so I'm not sure if she reverted back to form last night, was so exhausted she just didn't have anything in the tank, or the audience had a case of bitter-too-much-Seo-and-loss-of-the-amazing-Russianitis.

[California]

When I bought tickets on March 22, the day single tickets went on sale, I was as excited as anybody over the trifecta of Osipova-Obratsova-Vishneva in R&J. Well, we only got one out of three. But what we did get, as promised (after Hallberg was injured), was Marcelo in two of those three performances. It amazes me that people would walk out and not want to see what he does in the ballet. I think Nureyev was the first Romeo in this choreography (even if that was not MacMillan's original intent) and the ballet is chalk full of challenging variations for Romeo, along with some pretty amazing partnering. Maybe New Yorkers who get to see him a lot more than I do take him for granted, but they shouldn't. And at the curtain calls, he is always the gentleman - gracious to his partner (especially after the last-minute substitution) and gesturing with appreciation to the dancers behind him.

Friday afternoon, I went over to the NYPL dance collection and watched the tape of Manon with Ferri and Bolle from June 14, 2007. I don't know if this was her retirement performance (lots of curtain calls but no crowd scene of admirers and former partners on stage). It's fascinating to compare Manon from 1974 with R&J one decade earlier and MacMillan's evolution. In making Manon, e.g., he was reportedly fascinated with pairs figure skating and you can see "moves" like that in much of the partnering, such as the throw-triple-twist. And both ballets end with an odd PdD -- one with a dead body and the other with an almost dead and dying body. MacMillan seems to be fascinated with the dynamics of how that would work. I don't believe this was ever released on DVD, but it should be. I don't recall it being shown on PBS, but the quality of camera work was certainly sufficient for them to release that tape some day. It was decidedly not the rough archival tape quality in many of the ABT recordings at NYPL.

Do all those people who just don't show up know that they can call the box office to cancel the ticket and get a charitable deduction? The number is on the printed ticket: 212-362-6000. (At NYCB, you can do the same thing on their web site at least two hours beforehand.) Some consolation financially.

PS: In the ultra-trivia department, I noticed that several corps members in Act II know how to play a mandolin. Both hands move! Maybe they're amateur guitar players who grasped that basic point.

[Mazurka]

I would have been happy with Gillian, Xiomara; Lane or any of the other ladies praised on this forum would have been interesting to see in a principal role. Subbing Seo to Vishneva's public is almost perverse because she is so totally opposite. Not that I like everything Vishneva does. I find her often exalted which leads her to cross the line into affectation. She does that in the nurse scene of RJ and third act in Manon - although McMillan helps :-). We all know how riveting it is to watch Gomes and her dance.

Hee Seo lacks an emotional connection. Foundofouettes diagnosed this as being prim. Between the primness and the luxuriating in prettiness and lyricism - where is the room to connect with her partner? or anyone else? by the end of the balcony scene I caught myself drifting to mundane problems, not even Marcello nor Prokofiew could hold me captive to the ongoings on stage.

So the problem is dancing with lack of passion - perhaps she should try skyjumping or some other technique to get back to tap that passion and bring back the joy of dancing that perhaps brought her to the ballet in the first palace. Perhaps she is under too much stress. On the other hand perhaps the proportion between hard work and talent is so skewed towards hard work that she will never show us more.

[ord7916]

For the record, people were not leaving in droves. The woman next to me left after Act I and there were a few more empty seats after each act. Most people who've paid $125+ are not about to walk out in the middle. And while it was not Diana Vishneva - and that was indeed disappointing - many of us found it somewhat enjoyable.

[Mazurka]

The fencing in act 2 the were enjoyable, so was Foster Salstein and Hoven, who really tried, and of course the ever valiant Marvello.

The harlots were more witches than courtesans - courtesans in those days were somewhat elegant and I liked the more muted renditions I saw two years ago. I think they improved the lighting which was extremely dark. However the performance last night was like a huge heavy bird that keeps spreading its wings but is just not able to take off. There was no energy coming from the lead - obviously.

If it was a matinee I would have closed my eyes and stayed to listen to the music - the orchestra was great. But given the long trek home - I can listen to a record...

[mimsyb]

For the record, people were not leaving in droves. The woman next to me left after Act I and there were a few more empty seats after each act. Most people who've paid $125+ are not about to walk out in the middle. And while it was not Diana Vishneva - and that was indeed disappointing - many of us found it somewhat enjoyable.

"Somewhat enjoyable" are not words I'd want to use to describe a performance by one of the world's foremost companies. I do not blame Seo. The woman does need help, both technically and in the acting department. My guess is she is exhausted, and doesn't know the meaning of the word "no". She's been asked to pick up the pieces in far too many instances; she may be as frustrated about it all as we are. Unlike Vishneva who can and does control how many and what roles she dances, Seo seems to say yes to it all and doesn't consider the end result. If nothing else, she should consider the very real possibility of becoming injured herself in doing all of what's being asked of her. The lady needs a rest! And ABT sorely needs to prepare others for every major role in it's rep. (both male and female). All of this uproar would be a tad more moot if a Vishneva "replacement" were of a higher standard. Or, at the very least, a "major discovery" of someone new to a role. How many times have we gone to NYCB to see say, a Bouder or Mearns perform and come away thrilled at the replacement? I'm just sayin'.....

[nanushka]

"Somewhat enjoyable" are not words I'd want to use to describe a performance by one of the world's foremost companies. I do not blame Seo. The woman does need help, both technically and in the acting department. My guess is she is exhausted, and doesn't know the meaning of the word "no". She's been asked to pick up the pieces in far too many instances; she may be as frustrated about it all as we are. Unlike Vishneva who can and does control how many and what roles she dances, Seo seems to say yes to it all and doesn't consider the end result. If nothing else, she should consider the very real possibility of becoming injured herself in doing all of what's being asked of her. The lady needs a rest! And ABT sorely needs to prepare others for every major role in it's rep. (both male and female). All of this uproar would be a tad more moot if a Vishneva "replacement" were of a higher standard. Or, at the very least, a "major discovery" of someone new to a role. How many times have we gone to NYCB to see say, a Bouder or Mearns perform and come away thrilled at the replacement? I'm just sayin'.....

The inevitable response: "But NYCB's rep is different, they don't do as many full-lengths, so it's easier to feel good about a replacement when you're not stuck with that person for the full evening, plus their corps and soloists get more opportunities since they don't do full-lengths." And yes, that's all true. But I think you're right about all this, mimsyb, and I think people would generally be more accepting of the replacements if there weren't SO MANY of them (especially this season) and if they weren't ALMOST ALWAYS the same person. This season looked so interesting and exciting on paper back when tickets went on sale, and now, near the end, it just sort of feels like it's been a bit of a slog.

[abatt]

I was one of the people Amour was referring to as a no show last night. Mr. Abatt made a valiant effort to sell our tickets at a discount at his office, but there were no takers. I have nothing against Hee as Juliet, but after having seen her as Osipova's replacement on Wed I just couldn't fathom seeing the same cast in the same roles again on Friday. Additionally, I knew that it would be a no-win situation to attempt to exchange the tickets on the same day at the box office. Moreover, having already made so many ticket exchanges due to the cancellations of Semionova and Osipova there is nothing left for me to exchange into that fits into my schedule.

This new McKenzie system of assigning the same dancer to a role multiple times per week is certainly a negative development to ABT loyalists who book multiple shows per week to see different casts. The Osipova-Obratsova-Vishneva Juliet trifecta was a bust, except for the wonderful Obratsova. This entire season has been mostly disappointing. While I have always undertaken a strategy of leaving dates open to exchange into at the end of the season, this season there were so many cancellations that the number of dates I left open as potential backup dates just wasn't enough. Plus, due to circumstances at work going to Wed matinees is no longer an option at the moment. Lesson learned. Money lost. Fewer advance ticket purchases for next season. My subscription purchases will be reduced next season. Thank goodness ballet ticket cost about one-third the cost of opera tickets.

[fondoffouettes]

I tend to think physical/mental exhaustion had to play a factor in Seo's underwhelming performance last night. What else could explain why she sat there during the ballroom scene and forgot to "play" her mandolin until the very last strain of mandolin music? And when she did so, she just half-heartedly touched the strings a bit. She just sat there looking rather disengaged from what was going on. I think it was just a mental lapse, probably caused by all she's had to go through recently.

Also, I'm not sure a more junior principal can really say no when the AD tells her that she's dancing on a particular night. I've assumed that when a dancer is told she's on, then she's on unless there is a major physical problem preventing it.

[CTballetfan]

Abatt, did you turn in your tickets to the box office so that they could resell them? Doesn't ABT give you a letter acknowledging your contribution so that you can claim a tax credit? I have done this several times with NYCB.

[nanushka]

Also, I'm not sure a more junior principal can really say no when the AD tells her that she's dancing on a particular night. I've assumed that when a dancer is told she's on, then she's on unless there is a major physical problem preventing it.

Especially when, as I assume was the case last night, that junior principal is assigned as the cover for that particular performance. (It would make sense that Seo would have been the scheduled cover, since she'd already danced it with Gomes so it'd be relatively easy to swap her in.)

[MarzipanShepherdess]

Hee Seo is certainly not Vishneva but the level of vitriol directed at her seems quite unwarranted. From reading some of the comments here, one would think she was a total hack---but she actually can be quite lovely (as she was last night).

I was VERY disappointed to learn of the substitution via my program last night, as I'd bought tickets specifically to see Vishneva with Gomes and would have purchased tickets to see Obraztsova instead had I known Diana wouldn't dance. But, I still enjoyed the performance and agree with those who say this is Hee's best role.

To get the obvious and uncontroversial out of the way--Marcelo was wonderful as always. His performance was ardent and tender, and his interactions with even minor characters like the harlots were richly nuanced. He really brings out the best in all his partners, and certainly deserves some of the credit for what Seo was able to do on stage. He didn't have that extra dazzle and passion that he has when he dances with Vishneva, but seeing him dance with a crash test dummy would still be a treat.

The other standout man last night was Craig Salstein, who was a very compelling Mercutio.

Okay, now here it comes--I liked Hee last night [runs for cover]. No, she is "Not Vishneva". But she was lovely. I disagree with those who say she mechanically toggled from happy to sad. I thought she convincingly conveyed Juliet's emotional journey from being a playful child in Act I to being a passionate wife in Act III. I loved how she blossomed in the balcony scene, throwing herself with abandon into the pas de deux (very much enabled, no doubt, by trust in Marcelo as a partner). She has a very beautiful lightness and quickness and delicacy to her dancing, which is perfectly suited to the Act I choreography and which contrasted wonderfully with the fierce love she showed in the "morning after" scene. She conveyed that her Juliet had a premonition something terrible was about to happen and that she wouldn't see Romeo again and I found that very affecting.

She was weakest, unfortunately, at the end. Her poison scene was muddled and didn't pack the emotional punch it should have. She made it seem as though Juliet was afraid of some ghostly presence rather than wrestling with her own thoughts.

It wasn't a performance that sent me into raptures (as Ferri's Juliet did) but I enjoyed it very much.

I very much agree with the consensus here that ABT needs to better develop, promote, and support the home team and I think it's a shame that KM has burned so much of the audience on Hee Seo by leaning on her so heavily. Don't write her off--she is a dancer worth watching.

[atm711]

I wonder how many 'Swan Lakes' she will be dancing next week . Fortunately I don't have tickets for any of them.

[mimsyb]

Hee Seo is certainly not Vishneva but the level of vitriol directed at her seems quite unwarranted. From reading some of the comments here, one would think she was a total hack---but she actually can be quite lovely (as she was last night).

...

I very much agree with the consensus here that ABT needs to better develop, promote, and support the home team and I think it's a shame that KM has burned so much of the audience on Hee Seo by leaning on her so heavily. Don't write her off--she is a dancer worth watching.

Yes, I would agree Seo is a lovely dancer and should not be written off. But to rely on this one dancer is really playing a foolish game. ABT has already risked having her become a punch line for the inevitable "go to" dancer whenever someone cancels or is injured. Many ticket buyers feel burned or betrayed or something and might never again buy a ticket to see her, which is a shame and does neither Ms. Seo or ABT any favors. And I might proffer that it borders on "dancer abuse". No one should be asked to do what she has been asked to do. The body and the mind need to rest. She needs someone to advocate for her (manager/agent, Misty's PR team?). She needs to stay healthy and dance well and not feel she is "wonder woman". And she shouldn't have to collect all these slings and arrows being thrust at her. Her career should be one of confidence and radiance, not one that is knocked down every time her name appears as a replacement. I feel she is paying an unwarranted price for the lack of leadership elsewhere at ABT. I have no idea what sort of contract she has, but it seems to me there should be some kind of protection clause in any contract that asks the unaskable of any artist. Perhaps she likes being put on for any role, anytime there's a need. I can't speak for her. It simply seems she could be better served and appreciated if it didn't seem like a one woman show whenever there's a cancellation.

[miliosr]

A couple of points in Hee Seo's defense. It's not her fault that:

• Vishneva cancelled and she was the cover.
• Kevin McKenzie and Rachel Moore have pursued a policy over the last three seasons that has overrelied on guest stars; many of whom have cancelled at the last minute and left ticket holders furious.
• The artistic staff haven't trained enough in-house dancers up to the demands of dancing these full-lengths. (And, sorry, comparing ABT to City Ballet is comparing apples to oranges. Throwing someone into a 15 minute abstract ballet and a three hour story ballet isn't the same thing. I can just imagine the reactions if McKenzie threw a young dancer into a story ballet and she was terrible: "What a fiend McKenzie is! Throwing her into a multi-act story ballet when she wasn't ready!!")
• The exchange policy is terrible.
• Box office staff have treated people rudely.

[Admin Note: the following has been copied to a new thread called "How Should ABT Renew Itself." Please use it to continue this discussion:

http://balletalert.invisionzone.com/index.php?/topic/40327-how-should-abt-renew-itself/

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On a more global note, I'm having trouble following what the company's detractors want. I read comments that more opportunities for in-house dancers are desired. And yet, some of the biggest sellers are the guest stars, especially the Russian guest stars. You can't train the in-house dancers for these multi-acts but then turn around and say, "Oh, there's no room for you to dance these on the schedule as we have to make room for the Russian guest stars who can fill the Met. But we need you to be ready on the outside chance one of these divas cancels and we have to throw you on!" That would be as bad as the situation it would be attempting to fix.

Something's got to give. Either you dial back on the guest stars and brace yourself for the ticket sales hit you may experience until homegrown stars come along or you abandon the Met altogether, which has its own set of negatives for the company.

[ord7916]

Well, I tried calling and speaking to a supervisor about getting some comps as others have succeeded in doing. I spoke to a snooty guy who said they would not provide anything. I mentioned that I know that some people were given complimentary tickets as compensation. He said if that happened, that was at "somebody's" discretion and they don't give complimentary tickets because a performer was not there. It ended with "We sell performances, not performers."

[abatt]

Hee is definitely being abused. I feel sorry for her. The pressure and fatigue must be overwhelming.

Well, if ABT thinks it's selling performances and not performers, they are in for a rude awakening next season.

[Helene]

Without knowing Hee Seo, I wouldn't presume to call her abused. She might consider it a challenge and be energized by it, and she may be gaining strength, rather than becoming overwhelmed or fatigued.

It's a lot of work over a relatively short period, but it is the first time for lead roles that she's been called upon to dance so much. Her situation is not like Gomes', where he has had a very tough schedule for at least several years in a row,. He has more leverage and choices for his career, yet he keeps signing those contracts.

[canbelto]

Gomes' schedule is staggering this year, especially considering how even when he's not dancing lead roles, he has duties as Carabosse and Purple Rothbart. Of course they are short roles but it's still less time to decompress, rest, and prepare for the next performance. I'm actually surprised (and grateful) that his body hasn't given out to injury.

[MRR]

Although even Gomes dropped Solor and also won't be dancing Prince in Cinderella, which IIRC he was initially cast in.

[abatt]

Gomes is not dancing Cinderella because he's going to be dancing in a Matthew Bourne ballet in London that week.

[Drew]

After See Heo's just-respectable-pretty-at-times-not-special Bayadere (the matinee performance as I saw it), I was absolutely won over by her very lovely Aurora (also a matinee). I couldn't help wondering if Ratmansky's guidance played a role, but in any case found the performance very high quality and--the reason for my bringing it up in the context of this discussion--thought she really did look joyful dancing with Stearns in the Act III pas deux (especially the coda). In key respects I preferred her to Boylston; in particular she did more to show the differences between the three acts.

She had not been scheduled originally for either performance. In one case was replacing Semionova; in the other Boylston who was moved to the evening to replace Osipova.