Susan Jaffe named artistic director of ABT

[fun en face]

Any thoughts on who PBT might look to as AD now?

How about Julia Erickson? I’d personally love to see a former dancer take the helm. She’s extremely intelligent, definitely qualified, and seemingly well poised to take on this role. 

[atm711]

On 5/10/2022 at 12:22 PM, abatt said:

I don't think so.  ABT's past glories were based on its roster of  dancers, and unfortunately a number of principal and soloist dancers in the current roster are  not glorious dancers. 

I was thinking more of the repertoire.  McKenzie’s choices of a week of this and a week of that were the Coup de grace.

[cargill]

I agree that the week-long programing is not optimal but I think it might be economic, since it saves having to pay stage-hand sto set up and take down sets so often.  

Edited May 14, 2022 by cargill
spe;;omg

[dirac]

Jaffe would seem to be a solid choice. She’s a woman and thus checks an important diversity box, she has the experience, obviously she knows the company well, and given her age her tenure is not likely to be excessively long. I’m reminded of the appointment of Monica Mason at the RB.  A safe-pair-of-hands selection. Maybe she’ll surprise.

Quote

Notably, when Jaffe was principal, ABT engaged in searching out talent from all over the world to hire top level dancers as permanent members of the company.

True, abatt, but I seem to remember that Baryshnikov made a point of trying to promote from within and Jaffe was a signature example of that  – she had attended SAB and the ABT schools, he plucked her out of the corps to replace Kirkland on short notice. Anyway, best of luck to her and the company.

[nanushka]

A new article in the Washington Post outlines some of Jaffe's plans for ABT. First, audience education:

Quote

“Ballet is a very intellectual art form and people don’t know it,” she said. “And when you don’t know much about it, it’s hard to understand, and I think that’s why it’s not as easily embraced as, for example, music. It takes a while for the eye to understand it because there’s so much going on. But if you have a little insight, you can do that much more quickly.”

 

What’s interesting here is that Jaffe is looking at the larger systemic issue. It’s not enough to drum up excitement for a specific show. The bigger challenge is to groom potential audiences long term, and teach the public to appreciate and even crave the art form.

 

Is this a woman’s way of addressing a problem? It’s tempting to say so. Maybe it’s also smart thinking. Jaffe didn’t speak of ticket sales, programming or commissions. She talked about getting back to basics. Laying the groundwork for growth by building a knowledge base.

 

“I would like to do digital programs, maybe 15 to 20 minutes on the website. Like Cliffs Notes,” Jaffe continued. “To present the history, the lineage, the larger themes, and here’s what to look for in the ballet. I’d do this with the contemporary works, too. You could do so much: The lineage of teachers and choreographers. How one dancer passes it on to the next.

“Then you start to understand the lineage, and then you can see it in the movements and it starts to make more sense.”

Also, a repertory overhaul:

Quote

As for ABT’s backbone — its long-held treasury of classic, full-length story ballets, many that date to the 19th century — Jaffe said she aims to shelve, temporarily, those that contain offensive stereotyping or run counter to contemporary sensibilities.

“I will definitely do this with a team, not on my own,” she said. The ballets she has in mind include “Le Corsaire,” which centers on a Greek woman sold into slavery and a pirate hero who is himself an enslaver, and “La Bayadère,” which is set in a fictionalized India among temple dancers and a morally questionable high priest. Some of the characters and religious depictions have drawn criticism from the Hindu community and others who see it as insensitive. Jaffe plans to make changes, possibly adjusting storylines and details, after undertaking research, discussions and surveys, “so that we’re really hearing from audience members.”

“The last thing we want to do is just ignore the issues and say we don’t care. We do care. And we want to be mindful about what we do.”

[abatt]

Based on what Jaffe said about Corsaire and Bayadere, I guess we won't be seeing Raymonda anytime soon either.

 

[California]

1 hour ago, abatt said:

Based on what Jaffe said about Corsaire and Bayadere, I guess we won't be seeing Raymonda anytime soon either.

 

I have wondered if Rojo might bring Raymonda to San Francisco in 2024. It got mixed reviews in London and I have no idea who owns the production, but she seemed to be very involved in it. In earlier reports, Jaffe loves Onegin and Manon seems to be popular with ABT audiences, too.

Edited May 23, 2022 by California

[bingham]

20 hours ago, nanushka said:

A new article in the Washington Post outlines some of Jaffe's plans for ABT. First, audience education:

Also, a repertory overhaul:

OH NO! She's being politically correct already. There is always something that will offend someone in all ballet. Let's just give her a chance.

[California]

1 hour ago, bingham said:

OH NO! She's being politically correct already. There is always something that will offend someone in all ballet. Let's just give her a chance.

It's probably smart to avoid controversy of this sort in her first seasons. Bayadere and Corsaire have both triggered serious outcries elsewhere.

On a related note, I saw Pennsylvania Ballet's Corsaire in March 2017.  I noticed that Aili was called "servant" instead of "slave" in the printed program and asked about that at the Q&A before one  performance. Corella was there, but the marketing manager said it was his idea to make the change. Interesting that the slave status of the women was unchanged, however. 

 

 

Edited May 24, 2022 by California

[cubanmiamiboy]

On 5/23/2022 at 5:30 PM, abatt said:

Based on what Jaffe said about Corsaire and Bayadere, I guess we won't be seeing Raymonda anytime soon either.

 

Raymonda's issue is having a Christian couple as heroes and a Muslim Saracen as the anti hero,  Secondary to that is presenting a Crusader in positive light.  Even if a huge percentage of current ballet attending youth is probably unaware of what the Crusades were, I have always felt that when the ballet is stripped of this two elements, it is completely lost...destroyed. I hate the type of thing that Holmes did a while ago for ABT or now Rojo for her company.  This efforts cry desperation for avoiding the two main issues.  And they look silly and disrespectful to the work and its creators. The last act of Raymonda could be presented by itself in a plotless manner, just as Paquita, in a Theme and Variations fashion.  I can't understand why ABT hasn't done them this way.

[angelica]

14 hours ago, cubanmiamiboy said:

Raymonda's issue is having a Christian couple as heroes and a Muslim Saracen as the anti hero,  Secondary to that is presenting a Crusader in positive light.  Even if a huge percentage of current ballet attending youth is probably unaware of what the Crusades were, I have always felt that when the ballet is stripped of this two elements, it is completely lost...destroyed. I hate the type of thing that Holmes did a while ago for ABT or now Rojo for her company.  This efforts cry desperation for avoiding the two main issues.  And they look silly and disrespectful to the work and its creators. The last act of Raymonda could be presented by itself in a plotless manner, just as Paquita, in a Theme and Variations fashion.  I can't understand why ABT hasn't done them this way.

Didn't ABT present Raymonda Variations (or some such name) as part of a Repertory program before they shut down for the pandemic? I remember Devon Teuscher doing magnificent multiple turns of all kinds, which totally won me over.

[California]

7 minutes ago, angelica said:

Didn't ABT present Raymonda Variations (or some such name) as part of a Repertory program before they shut down for the pandemic? I remember Devon Teuscher doing magnificent multiple turns of all kinds, which totally won me over.

The ABT site actually lists five versions of Raymonda:

• Raymonda (Divertissements - Baryshnikov)
• Raymonda (Grand Pas Classique - Baryshnikov)
• Raymonda (Act III - Bujones)
• Raymonda (Holmes)
• Raymonda Divertissements (Kolpakova/McKenzie)

[ABT Fan]

12 minutes ago, angelica said:

Didn't ABT present Raymonda Variations (or some such name) as part of a Repertory program before they shut down for the pandemic? I remember Devon Teuscher doing magnificent multiple turns of all kinds, which totally won me over.

Yep, but many, many years ago. It was Raymonda Divertissements (Kolpakova/McKenzie) from California's list above. Remember the hate the new costumes got? I'll admit I didn't love them but it was a hot topic on this site. Here's a YouTube video of the bows from one performance (Teuscher wasn't at this performance). 

Teuscher had just been promoted to soloist. We might have been at the same performance - I remember how extraordinarily (and effortlessly) she handled some of the prickliest choreography I've seen. Men were shouting "brava" before her solo was finished. At the time, I remember thinking that no principal woman could have done it half as well as this relatively unknown dancer (except Murphy). She doesn't bring it in terms of artistry for me, but technique-wise she blew me away at that performance.

[angelica]

22 hours ago, ABT Fan said:

Teuscher had just been promoted to soloist. We might have been at the same performance - I remember how extraordinarily (and effortlessly) she handled some of the prickliest choreography I've seen. Men were shouting "brava" before her solo was finished. At the time, I remember thinking that no principal woman could have done it half as well as this relatively unknown dancer (except Murphy). She doesn't bring it in terms of artistry for me, but technique-wise she blew me away at that performance.

That's exactly how I feel about Teuscher.

[bingham]

On 5/30/2022 at 10:13 AM, California said:

The ABT site actually lists five versions of Raymonda:

• Raymonda (Divertissements - Baryshnikov)
• Raymonda (Grand Pas Classique - Baryshnikov)
• Raymonda (Act III - Bujones)
• Raymonda (Holmes)
• Raymonda Divertissements (Kolpakova/McKenzie)

Actually, ABT did Nureyev’s version in the Mid -seventies. I remembered, C Gregory, MV Hamel and G Kirkland danced the leading role.

[nysusan]

28 minutes ago, bingham said:

Actually, ABT did Nureyev’s version in the Mid -seventies. I remembered, C Gregory, MV Hamel and G Kirkland danced the leading role.

I remember that production too, and all of those ballerinas were wonderful Raymondas. As I recall Nureyev and Bruhn alternated in the roles of Jean de Brienne and Abderakhman. Those were the days!

[California]

1 hour ago, bingham said:

Actually, ABT did Nureyev’s version in the Mid -seventies. I remembered, C Gregory, MV Hamel and G Kirkland danced the leading role.

Interesting that Nureyev's version is left off the list.

This review by Kriegsman in 1987 mentions it: https://www.washingtonpost.com/archive/lifestyle/1987/08/01/raymonda-playing-to-the-crowd/e0e2d4ce-73f9-416a-80d8-30848e976317/

Rudolf Nureyev tried to reinstate the full-length format for a number of western troupes including American Ballet Theatre in 1975 -- a production that served as a vehicle for some highly memorable casts, such as Gelsey Kirkland in the title role partnered by Nureyev and Erik Bruhn as the contrasting male leads. But this version also failed to last. 

[vipa]

4 hours ago, bingham said:

Actually, ABT did Nureyev’s version in the Mid -seventies. I remembered, C Gregory, MV Hamel and G Kirkland danced the leading role.

I remember seeing that production. I remember Cynthia Gregory as being wonderful, and the ballet as being very, very long!

[canbelto]

A version of Raymonda was actually broadcasted on LFLC:

 

[FauxPas]

Many decades ago when I was but a little ballet newbie I saw a "Raymonda" Act III in 1991 danced by Cynthia Gregory and I think Jeremy Collins (he retired early and became a lawyer).  I think some time later there was rare collaboration with Susan Jaffe and Julio Bocca in the Act III?  

Some questions - I think the biggest question right now is if Alexei Ratmansky is going to sign another contract.  I don't think he has done his best original work for ABT - his ballets for NYCB are in general superior.  But I think he has been a positive artistic force at ABT and sometimes the only shining light in a murky sad landscape.

Also another question:  when Jane Hermann took over ABT around 1990, Mikhail Baryshnikov withdrew the rights to his staging of "Don Quixote", "Nutcracker" and "Swan Lake".  The company had to revert to the old David Blair "Swan Lake" and restage "Don Quixote" with choreography by Vladimir Vasiliev?  Later Kevin McKenzie did his own restaging for the "Don Quixote" and introduced the "Swan Lake" they have been doing for two decades.  When he leaves will he withdraw the rights to his productions as Baryshnikov did?  Will the company feel the need to replace his productions?  People are hoping on other threads that Ratmansky would stage his historical "Swan Lake" for ABT or NYCB.  Ratmansky also has a "Don Quixote" he has done for the Dutch Ballet among others.  The Ratmansky "Nutcracker" replaced an earlier staging by McKenzie.  I was hoping that ABT would purchase the "Paquita" sets from the Bayerisches Staatsballett which discarded the expensive physical production Ratmansky choreographed after Petipa.  

I think it all depends on the changeover.  McKenzie is retiring voluntarily and probably would be okay with continuing to make income from his revived productions.  Baryshnikov may have left on bitter terms with ABT.  I don't know the history.  

 

Edited June 3, 2022 by FauxPas

[vipa]

5 hours ago, FauxPas said:

Many decades ago when I was but a little ballet newbie I saw a "Raymonda" Act III in 1991 danced by Cynthia Gregory and I think Jeremy Collins (he retired early and became a lawyer).  I think some time later there was rare collaboration with Susan Jaffe and Julio Bocca in the Act III?  

Some questions - I think the biggest question right now is if Alexei Ratmansky is going to sign another contract.  I don't think he has done his best original work for ABT - his ballets for NYCB are in general superior.  But I think he has been a positive artistic force at ABT and sometimes the only shining light in a murky sad landscape.

Also another question:  when Jane Hermann took over ABT around 1990, Mikhail Baryshnikov withdrew the rights to his staging of "Don Quixote", "Nutcracker" and "Swan Lake".  The company had to revert to the old David Blair "Swan Lake" and restage "Don Quixote" with choreography by Vladimir Vasiliev?  Later Kevin McKenzie did his own restaging for the "Don Quixote" and introduced the "Swan Lake" they have been doing for two decades.  When he leaves will he withdraw the rights to his productions as Baryshnikov did?  Will the company feel the need to replace his productions?  People are hoping on other threads that Ratmansky would stage his historical "Swan Lake" for ABT or NYCB.  Ratmansky also has a "Don Quixote" he has done for the Dutch Ballet among others.  The Ratmansky "Nutcracker" replaced an earlier staging by McKenzie.  I was hoping that ABT would purchase the "Paquita" sets from the Bayerisches Staatsballett which discarded the expensive physical production Ratmansky choreographed after Petipa.  

I think it all depends on the changeover.  McKenzie is retiring voluntarily and probably would be okay with continuing to make income from his revived productions.  Baryshnikov may have left on bitter terms with ABT.  I don't know the history.  

 

I'm sure budgets/funding for new productions is a big factor. New productions cost a lot of money in sets, costumes, and rehearsal time. Tossing aside a production that seems to be working OK, and is selling tickets is a big decision.

[Helene]

The Ratmansky Don Q was staged twice at PNB, and it is a fantastic production.  There's a DVD of Dutch National Ballet performing it, and I was able to buy the download through the Apple store.  It would be great if ABT could get that production.

Tempermentally speaking, McKenzie seems pretty chill, and almost all of his career has been dedicated to ABT.  

[cubanmiamiboy]

16 hours ago, FauxPas said:

  People are hoping on other threads that Ratmansky would stage his historical "Swan Lake" for ABT or NYCB. 

Noooo!!!!! McKenzie's SL MUST stay!!! It is THE BEST suicidal Swan Lake EVER!! That way I'll be having both ways, excitement/historical-NYC/Miami for many years to come!-(.and I'm sure I won't be the only one)

[RUKen]

I don't think it has been mentioned yet on this thread that Christopher Wheeldon's "Like Water for Chocolate", which is premiering now at the Royal Ballet, is a co-production with American Ballet Theatre.  We can expect it to be performed in New York in the next year or two.

Edited June 4, 2022 by RUKen

[California]

1 hour ago, cubanmiamiboy said:

Noooo!!!!! McKenzie's SL MUST stay!!! It is THE BEST suicidal Swan Lake EVER!! That way I'll be having both ways, excitement/historical-NYC/Miami for many years to come!-(.and I'm sure I won't be the only one)

Apparently La Scala has reverted to its "traditional" Swan Lake and it hasn't been staged by Zurich, the other co-producer, in several years. Bolle never performed the Ratmansky reconstruction. Much as I appreciated it in Milan several years ago, it's a novelty item that doesn't seem to have the staying power needed to sell tickets at the Met. I wish Miami would bring it to the Met or Kennedy Center some day but that seems unlikely. Long ago, I had planned to see Miami's production this February, but have avoided travel to places that think COVID is some kind of hoax and won't take serious precautions (as NYC has). That has also ruled out visiting Sarasota or Houston. Even if the theater takes reasonable precautions, public transportation, hotels, restaurants, etc. don't seem to.

The best things about the McKenzie version: Purple Rothbart, only one intermission, the terrific swan dives at the very end. I suspect they'll keep using this indefinitely until they can afford another refurbishing.