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American Ballet Theatre 2021-2022 season

California

By California
in American Ballet Theatre

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vipa

vipa

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Just got back from Sat. Mat. and enjoyed it way more than I expected. I respectfully disagree with some other opinions. I thought La Follia Variations was barely competent. I've seen ballet school recitals with pieces as well put together (or better). My mind wandered at parts and there were several points at which the piece could have just ended, and that would have been fine. The dancers were all attractive, the choreography random and flawed, with no real response to the music. This is my 3rd Lauren Lovette piece, and as much as I admire her as a dancer, to my eye her choreography isn't developing.

Bernstein in a Bubble was a relief after the Lovette piece. Real construction that directed the eye, choreography that was musical, interesting and gave the dancers a chance to shine. I think that's the point of the piece - having dancers show their strengths and personalities it a well constructed and witty vehicle.

I know a lot of people don't like ZigZag, but I really enjoyed it. For me (I have no idea if this was the choreographer's intent), the piece is a joyful homage to the variety shows, of a bygone age, that had dance numbers. It is without cynicism, and is fun, open and honest. No tongue in cheek distancing here. I found it entertaining and refreshing, with a lot of ballet vocabulary throughout. The dancers looked great. For me the recordings hold up by virtue of phrasing and musicality, even though they weren't made in Bennett's prime note-hitting years.

In both ZigZag and Bubble, I was reminded of Cassandra Trenary's wonderful movement quality, and versatility. Last thing - Tony Bennet and his wife Susan Benedetto were in the audience. They were introduced and got a round of applause! Hope they went back stage.

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California

California

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12 minutes ago, vipa said:

Tony Bennet and his wife Susan Benedetto were in the audience. They were introduced and got a round of applause! Hope they went back stage.

ABT posted several shots of Bennet. He definitely went backstage. On a 60 minutes piece with Lady GaGa, they explainned that he has Alzheimer's but seems to respond well to music.

https://www.instagram.com/p/CVqsPk2J-eR/

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California

California

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Now that ABT's fall season is complete, we should be hearing soon about the Met season next spring. At least, pre-pandemic, we could  expect that. I'm hoping some on this site will get a news release and share!

I'm guessing Swan Lake and Ratmansky's new Of Love and Rage. With the shorter 5-week season, I'm guessing Giselle (from fall) and Don Q (from the Ken Cen in April) won't make the schedule. Skylar and Aran have been rehearsing Manon excerpts with their wonderful coaches on Instagram, so I'm hoping that's on the agenda. Perhaps retirement performances by Copeland and Murphy?

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abatt

abatt

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The outfit from last night and the one from a few weeks ago at the ABT gala all seem to be specifically designed to hide the stomach area.  These styles are completely different from the styles she has worn for years that show off her figure.  I think the question of whether she's pregnant is answered by these photos.

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abatt

abatt

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Did the ABT brochures have any notation when Murphy was out on maternity leave.  I don't recall, but I don't think they did.  In fact, I don't even recall whether her picture remained in the brochure for the season Murphy  missed due to maternity leave. 

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vipa

vipa

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1 hour ago, abatt said:

Did the ABT brochures have any notation when Murphy was out on maternity leave.  I don't recall, but I don't think they did.  In fact, I don't even recall whether her picture remained in the brochure for the season Murphy  missed due to maternity leave. 

I believe a maternity leave note is unusual

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volcanohunter

volcanohunter

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It's common in programs to denote a maternity leave with an asterisk, but I imagine it's up to the discretion of the dancer. Some may be superstitious about announcing their pregnancies, others would prefer to avoid speculation about the reason for their absence. 

I think a legitimate question is whether Copeland will be able to return to the stage. She will turn 40 in the autumn, and returning to performance shape at that point won't be easy.

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JuliaJ

JuliaJ

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I think Copeland's last performance was the 2019 run of Nutcracker. Also, if I can remember correctly, Gillian Murphy was originally on 2019 Met schedule when the season was announced (and the brochures were sent out), and then was replaced only a few weeks later after her pregnancy became public news. 

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Drew

Drew

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When do seats go on sale to (non subscribing) public? I have tried to find this online but had difficulty. In all of the announcements about the season I see that subscriptions are on sale, but nothing about when individual seats will be available. (I realize there must be some obvious place I am not looking, but if anyone can tell me the answer I'd be grateful.)

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California

California

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4 hours ago, Drew said:

When do seats go on sale to (non subscribing) public? I have tried to find this online but had difficulty. In all of the announcements about the season I see that subscriptions are on sale, but nothing about when individual seats will be available. (I realize there must be some obvious place I am not looking, but if anyone can tell me the answer I'd be grateful.)

Singles go on sale  to the public April 25: https://www.abt.org/performances/summer-season/

Friends at $480 and up get access one week ahead: https://www.abt.org/support/individual-giving/membership/

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abatt

abatt

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I just got the ABT brochure.   Previously, only the orchestra had multiple price levels.  Now  they are showing multiple price levels for all other sections of the house (i.e., front Grand Tier; Rear Grand Tier and so on).  I'm not finding any info regarding where the demarcations  between "front" and "rear" are for each section.

 

Added:  Question answered.  The ABT website has the seating maps showing where Front and Rear are for each section.

Edited by abatt
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California

California

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Segerstrom Center for the Arts has just announced five performances by ABT March 16-19, 2022. It's a mixed bill: Bernstein in a Bubble, Zig Zag, and a premiere by Alonzo King.

https://www.scfta.org/events/2022/american-ballet-theatre

This is the same program announced by the Kennedy Center for March 29-30: https://www.kennedy-center.org/whats-on/explore-by-genre/ballet/2021-2022/american-ballet-theatre/

But if you go to the master calendar on the ABT site, you see Don Q for March 29-30: https://www.abt.org/performances/master-calendar/?start=2022-03-25

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Dale

Dale

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Some news:

 

AMANDA MCKERROW AND JOHN GARDNER TO JOIN AMERICAN BALLET THEATRE
AS GUEST RÉPÉTITEURS FOR 2022 SEASON

NEW YORK, NY (January 19, 2022) — Former American Ballet Theatre Principal Dancer Amanda McKerrow and former ABT Soloist John Gardner will join the Company as Guest Répétiteurs through the end of the 2022 Metropolitan Opera House season, it was announced today by ABT Artistic Director Kevin McKenzie.

“Together, Amanda and John represent more than 40 years of ABT history,” said McKenzie. “Their long tenure and coaching experience will be a tremendous resource to our dancers. We are grateful to have them join us during this busy time of renewal and transition.”

Amanda McKerrow has the honor of being the first American to receive a gold medal at the International Ballet Competition in Moscow in 1981. Since then, she has received numerous other awards, including the Princess Grace Dance Fellowship. She had the honor of training with Mary Day at the Washington School of Ballet and was a member of that company until she joined American Ballet Theatre under the direction of Mikhail Baryshnikov in 1982. McKerrow was appointed to the rank of Soloist with ABT in 1983 and became a Principal Dancer in 1987. With ABT, she danced leading roles in all the major full-length classics, as well as one-act repertory works including George Balanchine’s Theme and Variations, Agnes de Mille’s Rodeo,

and Antony Tudor’s Pillar of Fire. In addition, she has had numerous works created for her by many of the great choreographers of the 20th century. She has also appeared as a guest artist throughout the world. McKerrow is now the sole Trustee of the Antony Tudor Ballet Trust, and together with her husband John Gardner, stages Tudor ballets around the world. McKerrow is in

demand as a Master Teacher for both students and professional dancers and has enjoyed staging numerous other ballets for professional companies and universities both in the United States and abroad.

John Gardner has distinguished himself in two major dance companies, American Ballet Theatre and White Oak Dance Project. He joined American Ballet Theatre in 1978 and was promoted to the rank of Soloist in 1984. Gardner’s diverse repertoire at ABT included numerous soloist and principal roles which afforded him the opportunity to work with many of the master choreographers of the 20th century. Gardner was invited to join the White Oak Dance project in 1991, dancing many new and pre-existing works by choreographers such as Mark Morris, Lar Lubovitch, Paul Taylor, and David Gordon, as well as works by many other icons of modern dance including Merce Cunningham and Martha Graham. He currently serves as Répétiteur for the Antony Tudor Ballet Trust and as Director of the Antony Tudor Dance Studies. Together with his wife Amanda McKerrow, he stages many of the Tudor ballets around the world. During the course of his career, Gardner has achieved an excellent reputation as a Master Teacher and coach on both the professional and student levels, and for the last 20 years, has enjoyed teaching and directing workshops and intensives, while staging numerous works for ballet companies and universities in the United States and abroad.

Most recently McKerrow and Gardner staged Tudor’s Pillar of Fire and Clark Tippet’s Some Assembly Required for ABT’s 2021 Fall season.

About American Ballet Theatre

AMERICAN BALLET THEATRE is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 US states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America’s National Ballet Company®.

Find out more at ABT.org and follow ABT dancers at @abtofficial on Instagram, on Twitter at @ABTBallet, and on Facebook at @AmericanBalletTheatre.

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California

California

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On 1/19/2022 at 5:01 AM, California said:

Segerstrom Center for the Arts has just announced five performances by ABT March 16-19, 2022. It's a mixed bill: Bernstein in a Bubble, Zig Zag, and a premiere by Alonzo King.

https://www.scfta.org/events/2022/american-ballet-theatre

This is the same program announced by the Kennedy Center for March 29-30: https://www.kennedy-center.org/whats-on/explore-by-genre/ballet/2021-2022/american-ballet-theatre/

But if you go to the master calendar on the ABT site, you see Don Q for March 29-30: https://www.abt.org/performances/master-calendar/?start=2022-03-25

The master calendar on the ABT site has finally been fixed to match the Kennedy Center: the same mixed bill March 29-30:

https://www.abt.org/performances/master-calendar/?start=2022-03-16

Still no casting for the Don Q at Kennedy Center, though.

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