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ABT Fall 2022 season


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I’m wondering if it’s just the order of wording in Shayer’s bio that leads to confusion. Maybe he isn’t saying Guest Principal Artist @ ABT. Perhaps he’s listing them as separate things, like he is a dancer at ABT and a guest principal artist in outside productions? He hasn’t been dropped from the ABT website, which leads me to believe he is still with the company. Either way its unnecessarily confusing.

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1 hour ago, AB'sMom said:

I’m wondering if it’s just the order of wording in Shayer’s bio that leads to confusion. Maybe he isn’t saying Guest Principal Artist @ ABT. Perhaps he’s listing them as separate things, like he is a dancer at ABT and a guest principal artist in outside productions? He hasn’t been dropped from the ABT website, which leads me to believe he is still with the company. Either way its unnecessarily confusing.

I never thought of that.  They could be separate things.  And yes, very confusing.   

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22 hours ago, DPell said:

Casting for Children’s Songs Dance went up a few days ago. SunMi Park, Youn Jung So, Camila Ferrera, Tristan Brosnan, Cy Dohrety, Elwince Mabitang, and Andrew Robare.

This is the same cast that performed when I saw it at Damrosch Park during the BAAND festival. They were all great and there was one blond guy who looked really impressive. I think it was Robare but I don't know the newbies well enough to be sure.

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48 minutes ago, nysusan said:

This is the same cast that performed when I saw it at Damrosch Park during the BAAND festival. They were all great and there was one blond guy who looked really impressive. I think it was Robare but I don't know the newbies well enough to be sure.

That sound’s like Robare. Cy Doherty’s tall too, but not blond.

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News: 

 

DANIIL SIMKIN TO PERFORM IN WHIPPED CREAM WITH AMERICAN BALLET THEATRE, OCTOBER 21 AND 22, 2022 AT THE DAVID H. KOCH THEATER 

 

NEW YORK, NY (October 19, 2022) — Daniil Simkin, a Principal Dancer with American Ballet Theatre from 2012 to 2020, will return to ABT as a Guest Artist for two performances of Alexei Ratmansky’s Whipped Cream during ABT’s 2022 Fall season at the David H. Koch Theater.

 

Simkin will dance the role of The Boy in Whipped Cream on Friday, October 21 at 7:30 P.M. and Saturday, October 22 at 2:00 P.M., opposite Breanne Granlund as Princess Praline. Simkin originated this role at the ballet’s World Premiere in 2017.

 

Daniil Simkin first joined American Ballet Theatre as a Soloist in October 2008 and was promoted to Principal Dancer in November 2012. Currently, he is a principal dancer with Staatsballett Berlin. He has performed worldwide over the course of his professional career, including in Europe, North and South America, Asia, and the Middle East. Simkin is also a producer focused on productions that evolve classical dance onto digital platforms using technology, new approaches, and venues that actively engage the audience in immersive and interactive ways. He has established Studio Simkin to work in partnership with artistic talent and institutions. Simkin returned to ABT as a Guest Artist during the Company’s 2022 Summer season at the Metropolitan Opera House, dancing Basilio in Don Quixote.

 

Whipped Cream is choreographed by ABT Artist in Residence Alexei Ratmansky and features scenery and costumes by artist Mark Ryden and lighting by Brad Fields. Whipped Cream, with a libretto and score by Richard Strauss, is based on the two-act ballet originally created as Schlagobers, which premiered at the Vienna State Opera in 1924. Ratmansky’s production received its World Premiere by ABT on March 15, 2017 at Segerstrom Center for the Arts in Costa Mesa, California danced by Daniil Simkin (The Boy), Stella Abrera (Princess Tea Flower), David Hallberg (Prince Coffee), and Sarah Lane (Princess Praline). 

 

Tickets for American Ballet Theatre’s 2022 Fall season, starting at $30, are available in person at the Koch Theater box office, by phone by calling 212-496-0600, and online. During the 2022 Fall season, ABT will offer audience members the opportunity to exchange their tickets or receive refunds free of charge up until Noon on the day of performance. The David H. Koch Theater requires proper mask usage at all times for all visitors. Proof of vaccination against COVID-19 is not currently required for entrance to performances.

 

 

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 U.S. 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®.

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32 minutes ago, fondoffouettes said:

Wow! He's delightful in this role. I haven't been following the casting very closely -- who does he replace? 

It looks like Daniil is replacing Jake Roxander who was previously announced as The Boy. 

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Gosh, I remember his father, David Roxander, as a soloist of the National Ballet of Canada. 

:offtopic:At the time his girlfriend was Sabina Allemann, and she was promoted to principal dancer at the same time his contract wasn't renewed. Three months later she followed him to California, and the rest was San Francisco Ballet's gain.

Edited by volcanohunter
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1 hour ago, fondoffouettes said:

Wow! He's delightful in this role. I haven't been following the casting very closely -- who does he replace? 

He replaces Roxander once but also Maloney once. And, some of the other casting has been reshuffled too. Granlund originally had one PP, now she has two, replacing Coker at one. Coker and Maloney are still on for Sunday, we’ll see if that stands.

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The ABT Instagram posted Breane and said:

The attitude is: excited for day 1 in the
theater and SO EXCITED for our newest #ABTSoloist
@BreanneGranlund to make her debut as Princess
Praline alongside @Daniil this Saturday (2PM) 

 

 

Was realllllllllly hoping to see Zimmi Friday night!

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Nevermind 🤦🏻‍♀️🤦🏻‍♀️ Tyler just posted:

 

**Casting Change**
Unfortunately, due to a
rapid flare up of Achilles
tendinitis I won't be
performing this Friday. I'm
feeling much better than I
was last week but we had
to make a call and I think
it's best I save myself for
Sunday to give the best
possible performance.
Sorry for anyone who was
hoping to see me and
@zimmig on Friday. It's
unfortunate my return to
the stage has to be delayed
but @zimmig and I are
looking forward to tackling
this ballet on Sunday! Bi

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5 hours ago, Dale said:

News: 

DANIIL SIMKIN TO PERFORM IN WHIPPED CREAM WITH AMERICAN BALLET THEATRE, OCTOBER 21 AND 22, 2022 AT THE DAVID H. KOCH THEATER 

 

Thank you so much for posting!   Loved him in the role when they did this ballet at the MET.   I already had tickets for one these dates and greedily just bought the other performance date as well.

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I was there. I have mixed feelings about Whipped Cream but by the finale I was convinced that it is indeed a good production. The costumes and sets are spectacular. Skylar Brandt was absolutely stellar as Princess Praline and I can't imagine anyone else doing this choreography so well (I never saw Sarah Lane in the role, for what it's worth). The crispness and polish she brings to her dancing is exquisite. Jonathan Klein was mostly wonderful as the Boy. Not always the smoothest partnering but the solos and acting were on point. His powerful turns à la seconde and then the jumps in the finale really brought the wow factor. Would like to see more of him in the future. 

Christine Shevchenko and Calvin Royal were lovely and well-casted as Tea Flower and Coffee. Both brought appropriate charm and a little seduction to the roles. Joseph Gorak danced Prince Cocoa and was in fine form. I find some of Ratmansky's Act I choreography frenetic and not very pretty, however. There are moments when it's hard to tell if the dancers are screwing up or if they are doing the choreography as intended. The choreography doesn't always go with the music, but I guess this is understandable given that much of the music sounds suboptimal for dance (despite being originally composed for ballet).

Edited by JuliaJ
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I adore Ratmansky’s Whipped Cream, and it was wonderful to see the ballet return last night at such a high level of performance.  The fantastic score, the unique costumes, the crazy choreography – what a wild 1920s hallucination of fantasy, satire and overindulgence.  The company was so well rehearsed, and so very alive with the thrill of performance.  The gingerbread men were swinging their mallets at the marzipan archers with ferver, as if they wished to do real harm.  Wham!  For the first time, every dancer presented a character on stage, utilizing facial expression and excellent mime.  No one made a misstep, no one was sleepwalking in the back row or going through the motions.  There are so many new, young dancers in the company, and so many opportunities opening up, everyone seemed thrilled to be on stage and was dancing full out.

Sarah Lane’s Princess Praline, with her lacy, layered footwork, has given way Skylar Brandt’s big, bold, movement.  Her movements are faster, higher, deeper, wider; Princess Praline now is a different character, much sassier.  Brandt is able to lengthen her limbs to such an extent that she appears far taller than her true height.  It's quite an achievement.  The endless work with Max and Irina has definitely come to fruition.  Brand's natural inclination for goofiness makes Princess Praline a perfect fit.  ABT absolutely must do right by Brandt and revive Coppelia for her.  She was born to play Swanilda, and in my opinion she would be the ultimate American dancer in that role.   This is my *personal* recommendation to Susan Jaffe...

In case you’re unaware, Jonathan Klein was a youthful figure skater in France, and as a young adolescent competed in the French junior national championships.  Emily Hayes posted some old footage of him on the ice in one of her food/travel vlogs on Youtube (“Made by Mily”), and he was quite impressive.  You can see the vigorous athlete in him and why his pirouettes and leaps are amazing.  However, he could use some finesse and lyricism in his dance.  A few months at the Paris Opera Ballet School or something similar would be perfect.  Well, no matter what may or may not be possible, I imagine that he (and everyone else at ABT) could use better coaching than what is currently available to the company.

Princess Tea Flower was languid and lyrical when danced by Stella Abrera, but Christine Shevchenko has turned her into a glamour girl, sparkly and lively.  Calvin Royal’s dancing has improved enormously since I last saw him, and he was especially confident last night as Prince Coffee.  Among their attendants there were two knockouts:  Chloe Misseldine and Jarod Curley.  As the attendants move about the stage in performance, frequently changing partners, these two more often than not ended up together, and they looked like an unbeatable team, the tallest dancers in the room.  Jarod Curley is ABT’s answer to Daniel Day-Lewis.  With each costume and wig change, he vanishes into his character.  He is tall and blonde, and last night, whirling around the pastry shop, he was unrecognizable as the dancer who performed Mithridates in Of Love and Rage.  I had one of my little fantasy moments at this point, and kept imagining him as Purple Rothbart in Swan Lake, entering the ballroom with Chloe Misseldine as Odile.  Whoa!  That's yet another fantasy I hope to see come true one day.

Major congratulations to the three dancing liquor bottles:  Catherine Hurlin, Blaine Hoven and Connor Holloway.  Their teamwork was great, and I’ve never seen the three bottles performed so well by all three dancers together.  In particular, Hurlin’s mime has improved so much, she’s finally able to get some big laughs as Marianne Chartreuse.  I hope that they, and everyone in this case, perform just as well or better on Saturday.  Cheers, all!

 

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Breanne Granlund was sensational last night, and she and Simkin looked beautiful together. Great partnering from Simkin, especially considering they probably had very limited rehearsal time. Granlund's debut would have been an unqualified triumph if it weren't for the fouettés at the end of her variation. She fell out of the first one and there wasn't really time to restart them, as I believe there are only three or four in the choreography. She wisely brushed it right off and proceeded to climb onto the snow yak. But her musicality, ability to project, and security in all other elements of the choreography made for a very impressive debut. I'm eager to see her more roles, and would love to see her paired again with Simkin if he returns to ABT.

Teuscher is quite good as Princess Tea Flower, though my one quibble is with those supported turns where her free leg is quite low. Something was off with the speed of the rotations (too slow) or her leg/arm positions; the turns didn't achieve the effect they can sometimes have. It was nice to see Stearns projecting some personality.

Simkin is just as good as I remembered him as the Boy, though I felt he dialed down the pyrotechnics a bit, which is only understandable given the last-minute substitution. According to his Instagram, it looks like he was dancing Giselle in Berlin only a few days ago, so it's truly incredible he was able to turn in such a perfect performance of a role he hasn't danced in three years.

Zhong-Jing Fang was delightful as Marianne Chartreuse and danced beautifully.

I felt the company, as a whole, looked a bit under-rehearsed. The choreography is frenetic and quirky (in a way that, I believe, suits the music), but it can look sloppy when not danced crisply. 

The scenery and costumes look fantastic at the Koch Theater. The scale of the production is perfect for that theater. Have they always used a projection of an eye above the hospital bed? I found it's blinking and movements distracting. Perhaps in the cavernous Met it wasn't as noticeable to me. 

Regarding the piece itself, I find there's much to enjoy in the first half, though the second act is clearly stronger (and elicits a much greater response from the audience). The biggest disappointment for me in Act I is the whipped cream waltz. I do love the slide, but the choreography is a bit of a let-down for me. Why does so little of it evoke swirling, whirling whipped cream? That shouldn't be too difficult with a waltz, I'd think? I've always wanted it to be a real show-stopper, like Ratmansky's Waltz of the Snowflakes, but it falls short for me. 

My hope for the spring season: Simkin and Granlund dancing together in anything!

Edited by fondoffouettes
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