ABT, Spring 2022 at the Kennedy Center (DC)

[Roberta]

Greetings. Did anyone attend either of the ABT Forward mixed-bill programs that opened the current Kennedy Center run? I went last night, Wednesday, but would prefer to read others' comments before opening my big mouth too much, particularly about the final piece, ZigZag, to the Tony Bennett songs. Holly cow! Shameless pandering to the masses with silly Broadway type dancing. Real waste of classically-trained talent, IMO. In retrospect, we should have left after the second work (Alonzo King's hauntingly beautiful Single Eye, to Jason Moran's score) so as to take positive thoughts back to our home.

I also found it a bit sour that this was advertised as a program with live music but only the initial work, Ratmansky's brief Bernstein in a Bubble, employed a live orchestra. The conductor took his bow before the first intermission.

The most positive take away from last night was the opportunity to have seen so many fresh faces - great up-and-comers - such as Chloe Masseldine in the Catherine Hurlin role in the Bernstein. Oh my goodness - a future Odette/Odile right there! Exquisite beauty, lines, tech, etc, etc. But there were so many others. I don't have time to go on.

Edited March 31, 2022 by Roberta
tempering my anger with ZigZag, ha ha

[California]

18 minutes ago, Roberta said:

Greetings. Did anyone attend either of the ABT Forward mixed-bill programs that opened the current Kennedy Center run? I went last night, Wednesday, but would prefer to read others' comments before opening my big mouth too much, particularly about the final piece, ZigZag, to the Tony Bennett songs. Holly cow! Shameless pandering to the masses with silly Broadway type dancing. Real waste of classically-trained talent, IMO. In retrospect, we should have left after the second work (Alonzo King's hauntingly beautiful Single Eye, to Jason Moran's score) so as to take positive thoughts back to our home.

I also found it a bit sour that this was advertised as a program with live music but only the initial work, Ratmansky's brief Bernstein in a Bubble, employed a live orchestra. The conductor took his bow before the first intermission.

The most positive take away from last night was the opportunity to have seen so many fresh faces - great up-and-comers - such as Chloe Masseldine in the Catherine Hurlin role in the Bernstein. Oh my goodness - a future Odette/Odile right there! Exquisite beauty, lines, tech, etc, etc. But there were so many others. I don't have time to go on.

I decided long ago to skip the opening programs and just see the Don Qs. They performed the Ratmansky during lock-down on-line and I did enjoy it. I think it was a stream from City Center? Nice but not worth an extra trip to the theater. Wasn't ZigZag performed at the fall season? Saw clips on-line and decided to skip that, too. It would be nice to see the King some day.

Edited March 31, 2022 by California

[Roberta]

1 hour ago, California said:

I decided long ago to skip the opening programs and just see the Don Qs. They performed the Ratmansky during lock-down on-line and I did enjoy it. I think it was a stream from City Center? Nice but not worth an extra trip to the theater. Wasn't ZigZag performed at the fall season? Saw clips on-line and decided to skip that, too. It would be nice to see the King some day.

Your hunches were correct about ZigZag. But I must say, most of the crowd up in the cheap seats, where we were, lapped it up. Hate to say it because I don't want ABT to continue this trend. A rare triple bill should at least include an historic choreographic gem, such as a Tudor or even, as a closer, the Clark Tippett Bruch Violin Concerto that I've so been longing to see once again.

I watched the Bernstein Bubble stream in March 2021. It's even better in person...and some of the costumes have been fixed - made neater - especially the  originally-messy look of Cassandra Trenary in the stream. Zimmy Coker looks neater. Pulled together, with a proper ballerina hairstyle too. All in all, I prefer last night's live cast, which is amazing considering the remarkable talent of the dancers in the stream. Incidentally, Betsy McBride totally held her own in the virtuosa role ("Turkey Trot" pas de trois) originally essayed by Skylar Brandt. That says something.

[California]

I just got back from the Simkin-Boylston Don Quixote at the Kennedy Center. He is so on top of  his game. What a joy to see after so long. A few observations:

• The program opened with MacKenzie stepping in front of the curtain to dedicate the performance to Ukraine, followed by the orchestra's playing of the Ukraine national anthem. I don't know if they are doing that every night.
• Ominous weather forecasts all day -- severe thunderstorms, tornados. But no rain before and it was dry after the performance. Near the beginning of the second act, telephone alarms started going off all over the theater. Even when you silence your phone, the alarms break through apparently. 
• No print programs. They have those QR codes all over the lobbies. Many of us stood there trying to get it to work and gave up. Fortunately, the program is also available on their web site: https://www.kennedy-center.org/whats-on/explore-by-genre/ballet/2021-2022/american-ballet-theatre/program?performanceId=73832
• I've been a Simkin fan for a long time and he didn't disappoint. He added his many embellishments and flourishes throughout the evening. In one variation, he did three of his trademarked revoltade 540s across the front of the stage. He's such a natural for this role and his comedic touches were a delight. 
• Boylston was workmanlike and mostly solid, with several long balances, but she doesn't impress me by pushing the envelope beyond what you expect from a principal. She had one slight slip in the first act during the landing from a minor lift, when she fell forward on her hands and knees very briefly, but she got up right away and seemed okay.
• I'm always a little nervous about the two one-armed lifts in Act I, but they were spectacular and went on forever. At the end of the second one, he raised up on the balls of both feet, which you don't see very often. (I saw some truly scary one-armed overhead lifts in the latest round of pairs figure skating; those seem so dangerous I'm surprised they haven't been banned.)
• I didn't see much else that impressed me. Forster as Espada and Teuscher as Mercedes were okay, but nothing special. 
• I don't remember three very young girls as servants in the first act, one of them African-American. They were not joyful peasant children, but workers hauling baskets of fruit, moving furniture, etc. Just seemed odd. When did those get added to the production?

[California]

13 hours ago, Roberta said:

. . . even, as a closer, the Clark Tippett Bruch Violin Concerto that I've so been longing to see once again.

Colorado Ballet does the Bruch every few years. It's wonderful! Wasn't there a thread here a few years ago about some personal issues between the stager and ABT?  Whatever - ABT's loss.

[YouOverThere]

10 hours ago, California said:

I just got back from the Simkin-Boylston Don Quixote at the Kennedy Center. He is so on top of  his game. What a joy to see after so long. A few observations:

• The program opened with MacKenzie stepping in front of the curtain to dedicate the performance to Ukraine, followed by the orchestra's playing of the Ukraine national anthem. I don't know if they are doing that every night.
• Ominous weather forecasts all day -- severe thunderstorms, tornados. But no rain before and it was dry after the performance. Near the beginning of the second act, telephone alarms started going off all over the theater. Even when you silence your phone, the alarms break through apparently. 
• No print programs. They have those QR codes all over the lobbies. Many of us stood there trying to get it to work and gave up. Fortunately, the program is also available on their web site: https://www.kennedy-center.org/whats-on/explore-by-genre/ballet/2021-2022/american-ballet-theatre/program?performanceId=73832.

- The orchestra performed the Ukrainian national anthem before the Tuesday and Wednesday performances.

- There was a tornado warning issued, which is what caused the cell phone alarms. There were 2 possible brief tornado touchdowns, 1 just outside the beltway.

- A short cut for the online programs is tkc.co/OH. I understand the motivation for eliminating printed programs, but I miss them, especially in the concert hall where it is usually light enough to look at the program during the performance.

I'm in the nosebleed seats tonight, then will decide whether it's worth breaking into my piggy bank for better seats at future performances. The triple bill was better from upstairs than from the orchestra.

[California]

1 minute ago, YouOverThere said:

- A short cut for the online programs is tkc.co/OH. I understand the motivation for eliminating printed programs, but I miss them, especially in the concert hall where it is usually light enough to look at the program during the performance.

A huge crowd was waiting outside the stage door Thursday night, presumably for Simkin. Without printed programs, I wonder what he signed? 

[ABT Fan]

9 minutes ago, California said:

A huge crowd was waiting outside the stage door Thursday night, presumably for Simkin. Without printed programs, I wonder what he signed? 

I’m sure the fans wanted selfies…

[California]

4 minutes ago, ABT Fan said:

I’m sure the fans wanted selfies…

You're probably right. Still...I stood outside that same stage door in 1976 to get Baryshnikov's autograph on the Push Comes to Shove program. I keep it in a gorgeous frame and in low light so it doesn't fade. It's not worth anything financially, as I'm sure he gave out thousands of autographs, but still...

[abatt]

Nobody should be waiting at the stage door in the age of Covid, and no performer should have to face the prospect of having to get close to audience members to give selfies or autographs. 

Thanks for the reports.  Can't wait to see Simkin in NYC.  ABT needs him. 

Edited April 1, 2022 by abatt

[California]

40 minutes ago, abatt said:

Nobody should be waiting at the stage door in the age of Covid, and no performer should have to face the prospect of having to get close to audience members to give selfies or autographs. 

Thanks for the reports.  Can't wait to see Simkin in NYC.  ABT needs him. 

Excellent point! I remember Cornejo posting last fall that he would not be able to see fans after performances for precisely this reason. Although Kennedy Center requires masks and vaccination proof inside the theaters, the masks seem to come off as people are leaving. At the rehearsal Thursday afternoon, most of the staff and crew between acts were masked. I didn't wait around to see Simkin leaving and I wonder how he handled it. He's scheduled with the Martha Graham company next week in NYC. https://www.nycitycenter.org/pdps/2021-2022/city-center-dance-festival/

Martha Graham Dance Company’s programs include Chronicle, a 1936 response to the global rise of fascism; a world premiere from Israeli choreographer Hofesh Shechter featuring guest star Daniil Simkin. . . 

Edited April 1, 2022 by California

[YouOverThere]

Cornejo is god

Edited April 2, 2022 by YouOverThere

[TheAccidentalBalletomane]

Anyone see tonight's Don Q with Cornejo and Brandt?

 

[Helene]

I suspect @YouOverThere did

[California]

I was at the Cornejo-Brandt Don Quixote Friday night. A few highlights:

• Dedication to Ukraine: Christine Shevchenko came out before the curtain with a mike to dedicate the performance to Ukraine. She noted that she is from Odessa and was warmly received. The orchestra played the Ukraine national anthem. (I see many orchestras on social media playing this. Often the musicians whose instruments permit stand while playing, out of respect. This orchestra didn't stand, but perhaps they are so crowded in this orchestra pit that it wasn't an option.)
• Herman Cornejo: Just superb. I've seen interviews with dancers who say this is a young man's role, and he didn't show the kind of embellishments and flourishes that Simkin did Thursday, but he is still in fine form, with plenty of energy and excitement.  His dramatic and comic talents are much in evidence.
• Skylar Brandt: Her debut in the role, she can be very pleased with her performance. If you follow her on Instagram (worth doing), she is coached by Irina Dvorovenko and Maxim Beloserkovky and the attention to dramatic and comic detail shows. Queen of the long balances, she had plenty of opportunities to show off, especially in  the Act II Dream sequence, where she also knocked off super-fast chaine turns and solid hops on pointe. Fouettes in Act III started with a few doubles, and finished with clean singles. At the bows, when a large bouquet of red roses was presented, she immediately handed them all to Cornejo and knelt down. (Gelsey did that early in her partnership with Baryshnikov.)
• Gabe Stone Shayer (with blackened hair) made his debut as Espada. He seemed more confident in the second act tavern scene, with welcome exuberance that was missing in Act I.
• Cassie Trenary in her debut as Mercedes was wonderfully sassy and flirtatious. As Queen of the Dryads in Act II she knocked out solid Italian fouettes (did I count seven?). 
• Kanon Kimura as Cupid suffered the only visible mishap of the evening, when she slipped and fell hard near the end of the Dream sequence, but she got up immediately, to reassuring applause from the audience, and finished without problem.

[Roberta]

Thanks for all of the reviews of Don Q so far! I'm looking forward to our one DQ tonight (Schevchenko/Stearns). Schevy should be in her element as Kitri. She will not water-down the 32 fouettes, I'm sure. I also believe that the Schevy/Stearns pairing will be lovely, as they were very impressive together in one of the two leading pdds in the Alonzo King Single Eye; she really brought out the emotion in Cory Stearns!

While this is not my favorite production of DQ -- the patched sets & costumes by Loquasto from the late-'70s Baryshnikov production, seemingly held together by Gorilla Glue -- I DO appreciate that Kevin McKenzie and Susan Jones have added the final scene's solo Bridesmaid Variations that Baryshnikov did not include. In the 2011 DVD from Japan (playable in multi-region DVD recorders), those variations are danced by Sara Lane (sigh - I miss her!) and Isabella Boylston. That's the only commercial DVD that I know of the present ABT production; Simkin and Yuriko Kajija starred. (I miss Yuriko, too.)

Edited April 2, 2022 by Roberta

[California]

10 minutes ago, Roberta said:

While this is not my favorite production of DQ -- the patched sets & costumes by Loquasto from the late-'70s Baryshnikov production, seemingly held together by Gorilla Glue -- I DO appreciate that Kevin McKenzie and Susan Jones have added the final scene's solo Bridesmaid Variations that Baryshnikov did not include. In the 2011 DVD from Japan (playable in multi-region DVD recorders), those variations are danced by Sara Lane (sigh - I miss her!) and Isabella Boylston. That's the only commercial DVD that I know of the present ABT production; Simkin and Yuriko Kajija starred. (I miss Yuriko, too.)

Thanks for bringing up the original by Baryshnikov from 1978. (Coincidentally, the world premiere was in March 1978 at the Kennedy Center, with President Carter in the audience. Except perhaps for a few character dancers, none of the current dancers was even born yet!  They've no doubt seen the 1983 DVD of Baryshnikov with Cynthia Harvey.) In the original, Gelsey wore a longer purple dress. I don't know when that was changed to the red-orange version more familiar from other companies. Most of today's costumes seem to be new, although in the same style as the 1978 original.

Another missing element: Baryshnikov's cups variation. As Kurt Fromann has noted, it's not included in all productions:

 

[bingham]

When M Baryshnikov left ABT, I think, h e also did not allow the cup variation to be included in K Mc's staging. Cornejo would have been great doing this variation a few years ago.

[DPell]

Did anyone see Bell and Hurlin’s debut this afternoon?

[California]

I saw the debuts of Aran Bell and Catherine Hurlin at the Saturday afternoon performance of Don Quixote. A few observations:

• Bell is the real deal. Superb technique and presence, wonderful technical mastery, great comedic and dramatic flare. Best: he's only 23 years old! So we can look forward to another 15-20 years of continued growth as an artist. The one-armed lifts in the first act were solid and he walked quite a distance in the second.
• Hurlin is nicknamed "Hurricane," as I understand. She has a sparkling interpretation of Kitri, but some unfortunate technical limitations. She is not able to hold unsupported balances, even briefly, a weakness made more glaring by comparison with Boylan and Brandt in the preceding two performances. Her hops on point in the dream sequence were painful to watch. The conductor noticeably sped up the tempo just for those--to get them over with as fast as possible? She barely travelled a few feet while others covered most of the stage on the diagonal. She was fine in the fouettes, starting with a few doubles, then solid singles, which seems to be the pattern with all the Kitri's.
• Blaine Hoven's height and size made for a commanding presence as Espada.
• Zhong-Jing Fang was a wonderfully sassy and flirtatious Mercedes and nailed the Queen of the Dryads.
• Chloe Misseldine, in her debut as a Bridesmaid, exuded the confidence and aplomb of a seasoned veteran. (Someone asked me to take note of her and I confess I don't usually pay much attention to the lesser roles. Bridesmaid in this production is a very challenging role in all three acts and a nice opportunity for a young corps member to shine.)
• Clinton Luckett, Associate Artistic Director, gave the opening tribute to Ukraine.

Edited April 3, 2022 by California

[California]

I saw the performances of Christine Shevchenko and Cory Stearns at the Saturday evening performance of Don Quixote. A few observations:

• Shevchenko has a confident and impressive technique, although I kept waiting for her to "push the envelope" and surprise me with something special --  very long-held balances or super-high extensions. She did knock off some super-fast pique turns. At the end, instead of flowers, she ran off stage and came back with a Ukraine flag to wild cheering from the audience. As she told us Friday in the introduction, she was born in Odessa.
• Stearns has been a principal since 2011 and is 36 years old. Is he in decline or has he always been this blah? His technique is serviceable at best and he made some embarrassing errors. Near the end of Act I, he lifts Kitri straight up then drops her into a fishdive no-hands position. But something went awry, he sidestepped to the side of the stage and finally, awkwardly, got her into position. In Act III, in one of his variations, he was finishing a step sequence with a low turn of some sort, actually sat down on the floor, and finished with a "what just happened" look. While other men do high-flying scissor/beats, he does low basic cabrioles. Etc., etc. This was the only pair that did not appear before the curtain for extra bows as the applause ended quickly.
• Calvin Royal's height and grand demeanor made for a convincing Espada.
• Devon Teuscher gave the opening tribute to Ukraine.

Edited April 3, 2022 by California

[Roberta]

Last night's performance of DonQ led by Christine Shevchenko and Cory Stearns was FANTASTIC! The packed audience went wild with vocal support throughout the evening. Shevchenko could do no wrong. I cannot imagine a better Kitri. (In line with California's note above, I've long learned to avoid Hurlin in anything that requires solid classical technique. I enjoy her in contemporary/jazzy works. Works like ZigZag and other Jessica Langs are tailor-made for her.)

Among the dancers in smaller roles, I was especially impressed by Lea Fleytoux as Amour (gorgeous fast footwork and elevation/!) and Jonathan Klein as the lead gypsy guy - electrifying performer! Wow!

Lastly, the Loquasto sets have been restored to their original beauty! No more dark-brown brackets, odd canopies over the doorways, etc. that I saw at the Met ca 2009 (the Alonso 90th b'day tribute show). The sets/costumes once again look like those in the original late-'70s production.

[ABT Fan]

7 hours ago, California said:

I saw the debuts of Aran Bell and Catherine Hurlin at the Saturday afternoon performance of Don Quixote. A few observations:

• Bell is the real deal. Superb technique and presence, wonderful technical mastery, great comedic and dramatic flare. Best: he's only 23 years old! So we can look forward to another 15-20 years of continued growth as an artist. The one-armed lifts in the first act were solid and he walked quite a distance in the second.
• Hurlin is nicknamed "Hurricane," as I understand. She has a sparkling interpretation of Kitri, but some unfortunate technical limitations. She is not able to hold unsupported balances, even briefly, a weakness made more glaring by comparison with Boylan and Brandt in the preceding two performances. Her hops on point in the dream sequence were painful to watch. The conductor noticeably sped up the tempo just for those--to get them over with as fast as possible? She barely travelled a few feet while others covered most of the stage on the diagonal. She was fine in the fouettes, starting with a few doubles, then solid singles, which seems to be the pattern with all the Kitri's.
• Chloe Misseldine, in her debut as a Bridesmaid, exuded the confidence and aplomb of a seasoned veteran. (Someone asked me to take note of her and I confess I don't usually pay much attention to the lesser roles. Bridesmaid in this production is a very challenging role in all three acts and a nice opportunity for a young corps member to shine.)

Thanks for your thoughts.

No surprise to hear this about Bell. He is indeed a rare talent, from what I've seen, with a maturity way beyond his years.

Very surprised about Hurlin. I wonder if any of these limitations you saw were due to nerves. She's done the leads in Nutcracker and Love & Rage, but this is her first major principal role in a full length. This makes wonder what her O/O debut will be like. She was supposed to debut Aurora at the Met in 2020, so if she cannot hold unsupported balances or do any hops on pointe, it makes me wonder why Ratmansky would cast her.

Misseldine posted a clip of her performance as Flower Girl on her IG, and from that short video she demonstrated everything you said. She was featured a lot on their tours last year. I have a feeling she's going to be a star sooner rather than later.

And, re: your comments on Stearns - he's always been blah, and yes, serviceable at best. I've never understood his promotion to principal - 10 years ago maybe the thinking/hope was that he'd improve or maybe they needed a tall principal. He is very handsome and "princely" looking - perhaps that's another reason. The only thing I saw that he was good in was The Moor's Pavane, opposite Roman Zhurbin. I think Zhurbin's extraordinary dramatic abilities must have pulled something out of Stearns, because he electric. 

[balletlover08]

1 hour ago, ABT Fan said:

Thanks for your thoughts.

No surprise to hear this about Bell. He is indeed a rare talent, from what I've seen, with a maturity way beyond his years.

Very surprised about Hurlin. I wonder if any of these limitations you saw were due to nerves. She's done the leads in Nutcracker and Love & Rage, but this is her first major principal role in a full length. This makes wonder what her O/O debut will be like. She was supposed to debut Aurora at the Met in 2020, so if she cannot hold unsupported balances or do any hops on pointe, it makes me wonder why Ratmansky would cast her.

Misseldine posted a clip of her performance as Flower Girl on her IG, and from that short video she demonstrated everything you said. She was featured a lot on their tours last year. I have a feeling she's going to be a star sooner rather than later.

And, re: your comments on Stearns - he's always been blah, and yes, serviceable at best. I've never understood his promotion to principal - 10 years ago maybe the thinking/hope was that he'd improve or maybe they needed a tall principal. He is very handsome and "princely" looking - perhaps that's another reason. The only thing I saw that he was good in was The Moor's Pavane, opposite Roman Zhurbin. I think Zhurbin's extraordinary dramatic abilities must have pulled something out of Stearns, because he electric. 

Hurlin was injured in the fall (but I'm unsure what the injury was exactly). She didn't perform at any of the fall shows. She came back in time for Nutcracker in December but perhaps her injury is still bothering her for the balances and hops on pointe? 

Speaking of, Hurlin's role in Bernstein was danced by Misseldine at the fall shows (alongside Bell, Brandt, Trenary etc). That was when I first realized that Hurlin was injured and also when I realized that Chloe was likely going to be a star sooner rather than later (gaining the trust of Alexei to cast you in your first year in the corps). 

I too was impressed by the short clip that Chloe posted, she is a wonderful turner. Is that flower girl variation unique to ABT? I've seen the first one danced by other companies but not this one. 

Edited April 3, 2022 by balletlover08

[California]

I saw ABT's final performance of Don Quixote at the Kennedy Center Sunday afternoon with Joo Won Ahn and Hee Seo. A few observations:

• Joo Won Ahn was a joyous Basilio who truly seemed to enjoy performing today. I don't know if this was his debut in the role. He was just promoted to principal during the 2020 lockdown. His jumps and leaps have a very nice relaxed and effortless balloon, even if he doesn't add the complications and embellishments we saw this week from Simkin and Bell. 
• Hee Seo has not been one of my favorites, although I understand others have praised her Juliet. Her happiness throughout did not seem as natural and genuine as Ahn's, but okay. She has a solid technique for most of the challenging choreography, including the hops on pointe and pique turns in the dream sequence, but her fouettes in Act III were very unfortunate. I do understand that many on this list think we pay too much attention to the 32 fouettes in this and other works, but I wonder if dancers with real problems shouldn't be permitted to substitute something else (as Makarova often did). She started with a few doubles, then fell off point and had to add a step to get back into the turns, then started travelling seriously on the diagonal to a front corner of the stage where she ended badly. Audiences cheer madly no matter what, but it was pretty awful. I don't know if she was just having a bad day or if she always has difficulties with these fouettes.
• Partnering: They had a problem with the same Act I move that gave Shevchenko and Stearns problems last night. He lifts her straight up, then brings her down into a fish dive position. So far so good. Alas, she slid down to the floor and lay there flat on her stomach for a moment. It wasn't a great distance, and she didn't seem to be injured, but both seemed startled. The back-to-back mishaps remind us that this move is more difficult than it seems when perfectly executed. The one-armed lifts in Act I seemed solid and they held them for a decent time. No extra curtain calls in front of the curtain, as applause died down quickly. No flowers or flags.
• Luciana Paris was a sizzling, exuberant Mercedes, but less secure as Queen of the Dryads. Her Italian fouettes got off to a shaky start but finished strong. 
• John Gardner was Kitri's father at some performances and Sancho Panza at others. As recently announced, he and Amanda McKerrow will be Guest Repetiteurs for the Met season. It was nice to see him bring his extensive experience to the stage. https://www.abt.org/amanda-mckerrow-and-john-gardner-guest-repetiteurs-2022-season/
• Calvin Royal III gave the Ukraine introduction.

RECOMMENDATIONS FOR THE MET: For those who can only see a few performances in June at the Met, I'd make these recommendations:

1. Daniil Simkin: It is such a treat to see him again as a guest and who knows if he will return after this visit. Don't miss him.
2. Herman Cornejo: He is in top form, but he's 40 years old (41 in May). Don't count on him being around in this shape for many years more.
3. Aran Bell: He is as good as it gets, but (fingers crossed), we'll be able to see him for many years ahead.