ABT Met Season 2023

[abatt]

1 minute ago, matilda said:

Ha! Freudian slip, I guess. In all fairness I do really like Teuscher although it is hard to picture her as Giselle. If the show weren't on July 4th, I might even try to catch that cast. Bell absolutely killed it as Albrecht in fall 2021. 

Yes.   He was great.  I don't recall who was his partner for that show.  

[matilda]

^He danced with Shevchenko.

[abatt]

Due to the generosity of a friend who is a member, I attended the dress rehearsal last night.  I didn't stay for the final act.  Since it was a dress rehearsal, I'll keep my comments to a minimum.  Wheeldon was there supervising every aspect.  Having never read the book or seen the film, I felt that there were just too many characters and plot points in this work.  This may have been fine for film and in a novel, but in a ballet it becomes a problem.  Study the synopsis before the performance, or you may find that you are sometimes lost.  (This was also a problem last season for Love & Rage).   The rehearsal cast was opening night cast - Trenary, Cornejo....

I agree with the posts above that the first act is far too long.  

In particular, the technical crew was having some issues regarding lighting.  Hopefully it will all be straightened out for tonight's show. 

Edited June 22, 2023 by abatt

[California]

I decided long ago that I wouldn't bother travelling to NYC to see Like Water for Chocolate -- just too high-risk! I did watch the entire ballet on the Royal Ballet stream a few weeks ago and have to agree with the complexity of the plot, especially if you haven't read the book. But I'm very hopeful that the fall season at the State Theatre will be worthwhile, from the hints we've picked up from Instagram!

And I'll be very interested in reports from the New Yorkers about the performances in LWFC.

[Victura]

I saw Like Water for Chocolate with the Trenary/Cornejo cast in California in March and quite enjoyed it. If I had the time, I would’ve gone back to see another cast’s interpretation.

It was a little on the long side and the first two acts are more story driven and had more mime and character dancing - I probably would’ve preferred more dancing in these two acts. The third act contains the incredibly passionate and intense pas de deux. The rawness and sensuality really drew you in as an audience member. There’s a somewhat surprising stage effect at the end that I liked but not sure if everyone would. 

I don’t think there’s anything in the first two acts that would necessarily be inappropriate for kids but the final act could be. Audience wise, I was actually very surprised that it was quite full on the night I went. Perhaps it helped that it was advertised as the American premiere as well as Kevin McKenzie’s farewell season. 

I’ll be curious to hear the reception from the Met. 

 

[Drew]

In the ROH broadcast I thought the first act did feel--and was--long with a lot of storytelling gesture dominating the act, as mentioned above, but for me the first act packed a big emotional punch at the end that brought everything home--so there was a payoff. On that basis alone, I decided I would like to see the ballet live if possible, though the most memorable dance sequences happen later in the ballet. (I will know next week whether I'm seeing it or not.) 

[abatt]

The work held my attention and I enjoyed it, but I wanted more actual dancing and less gesturing.  The choreography for the group dances is relatively simplistic and not technically challenging.   The final pas was very well done, until Wheeldon decided to add that little bit of kitsch at the very end, which I will not reveal so as not to spoil it for others.   

I think this work would have benefitted from an editor who was willing to slash scenes from the ballet that were not essential to the basic outlines of the story.   One thing that distinguishes the classics is that each act has a major dance divertissement of the leads.  I thought there just wasn't enough impressive choreography in this to justify a nearly 3 hour run time. 

 

ABT has apparently stopped the ticket giveaways in the upper levels to fill the house for the gala.  Lots of empty seats in the balcony and family circle. 

MacMillan didn't need fake fire effects to convey passion.  I realize that fire is part of the book, but it says a lot that Wheeldon frequently relies on scenic gimmicks to substitute for quality choreography.  Couldn't the spirit of the mother deliver her warnings with good mime and acting or dancing.  Instead he gives her this outlandish wig and she is  hidden under tons of fabric as she is carted around the stage.  When Shevchenko smushed her hand down on Cornejo's head I busted out laughing.  I don't think that was the intended effect.  

Overall I felt that the choreography was more like something you would see at a Broadway show rather than the level of sophistication I have come to expect from a top tier ballet company.   One act of Don Q has more sophisticated and difficult choreography than 3 acts of LWFC.

 

Edited June 23, 2023 by abatt

[FauxPas]

Some study guides.  

https://static.roh.org.uk/productions/like-water-for-chocolate-by-christopher-wheeldon/LWFC+Synopsis+PDF+FINAL.pdf

The recipes can be found here along with other information about the book:  https://n3onx13.wixsite.com/h2o4choc/recipes

Edited June 23, 2023 by FauxPas
Food

[Papagena]

3 hours ago, abatt said:

 

MacMillan didn't need fake fire effects to convey passion.  I realize that fire is part of the book, but it says a lot that Wheeldon frequently relies on scenic gimmicks to substitute for quality choreography.  Couldn't the spirit of the mother deliver her warnings with good mime and acting or dancing.  Instead he gives her this outlandish wig and she is  hidden under tons of fabric as she is carted around the stage.  When Shevchenko smushed her hand down on Cornejo's head I busted out laughing.  I don't think that was the intended effect.  

 

 

Interesting - I'm really looking forward to see if the fire bit works for me. Not sure if anyone saw The Met's Don Giovanni, but there were zero bells and whistles / special effects until the end, when the hellfire scene used a projection tactic that was shockingly effective - I can't stop thinking about it. 

Regarding the spirit of the mother - my biggest question when I saw they were making LWFC a ballet, was a question of tone. Was there an overall tone to the ballet? Did they get it right? Or is it a bit of a mess? LWFC and magical realism can have a charming ability to lean into camp quite seamlessly ... but only when it's done right.

I guess I'm just always curious about the overall feeling audience members are left with after the ballet is over. Looking forward to more reports - I'm catching it next week. 

[lmspear]

3 hours ago, abatt said:

 One thing that distinguishes the classics is that each act has a major dance divertissement of the leads.  I thought there just wasn't enough impressive choreography in this to justify a nearly 3 hour run time. 

I think that the recipes in the book could have provided the opportunity for divertissements based on the ingredients,  herbs and spices required.  🌞

[NinaFan]

5 hours ago, abatt said:

The work held my attention and I enjoyed it, but I wanted more actual dancing and less gesturing.  The choreography for the group dances is relatively simplistic and not technically challenging.   The final pas was very well done, until Wheeldon decided to add that little bit of kitsch at the very end, which I will not reveal so as not to spoil it for others.   

I think this work would have benefitted from an editor who was willing to slash scenes from the ballet that were not essential to the basic outlines of the story.   One thing that distinguishes the classics is that each act has a major dance divertissement of the leads.  I thought there just wasn't enough impressive choreography in this to justify a nearly 3 hour run time. 

 

ABT has apparently stopped the ticket giveaways in the upper levels to fill the house for the gala.  Lots of empty seats in the balcony and family circle. 

MacMillan didn't need fake fire effects to convey passion.  I realize that fire is part of the book, but it says a lot that Wheeldon frequently relies on scenic gimmicks to substitute for quality choreography.  Couldn't the spirit of the mother deliver her warnings with good mime and acting or dancing.  Instead he gives her this outlandish wig and she is  hidden under tons of fabric as she is carted around the stage.  When Shevchenko smushed her hand down on Cornejo's head I busted out laughing.  I don't think that was the intended effect.  

Overall I felt that the choreography was more like something you would see at a Broadway show rather than the level of sophistication I have come to expect from a top tier ballet company.   One act of Don Q has more sophisticated and difficult choreography than 3 acts of LWFC.

 

Thank you for the review and for not giving the ending away as I’m looking forward to seeing the ballet. 

The fake fire sounds interesting, but then I’m a sucker for special effects anyway.  Perhaps he felt it helped to create the mood, especially if the fire was also in the book.   But I obviously can’t really comment until I’ve seen the ballet.

Would you say the ballet was closer to 2:45 hours or more like 3 hours?  I am trying to get all my ducks in a row timewise.  Thanks.

[MarzipanShepherdess]

5 hours ago, abatt said:

 I wanted more actual dancing and less gesturing. 

[...]

Overall I felt that the choreography was more like something you would see at a Broadway show rather than the level of sophistication I have come to expect from a top tier ballet company.   One act of Don Q has more sophisticated and difficult choreography than 3 acts of LWFC.

 

I'll see LWFC tomorrow evening, but your description makes me think of how I felt watching English National Ballet do Wheeldon's Cinderella last week. Which, FWIW, had sold very well at Royal Albert Hall which is a massive theater. I do think there's audience appetite for ballets that lean more dance-theater than "capital B" Ballet, but if I want that I prefer Matthew Bourne's more creative and inventive take on the genre it to Wheeldon's. 

[cobweb]

2 hours ago, Papagena said:

Not sure if anyone saw The Met's Don Giovanni, but there were zero bells and whistles / special effects until the end, when the hellfire scene used a projection tactic that was shockingly effective - I can't stop thinking about it.

Agree, Papagena! I was very impressed with the Don's destruction into hellfire.

P.S. I'm sure you must have enjoyed Zauberflote too!

[abatt]

45 minutes ago, NinaFan said:

Thank you for the review and for not giving the ending away as I’m looking forward to seeing the ballet. 

The fake fire sounds interesting, but then I’m a sucker for special effects anyway.  Perhaps he felt it helped to create the mood, especially if the fire was also in the book.   But I obviously can’t really comment until I’ve seen the ballet.

Would you say the ballet was closer to 2:45 hours or more like 3 hours?  I am trying to get all my ducks in a row timewise.  Thanks.

Last night it was 3 hours, but it was a "gala" night so maybe the intermissions will be a little shorter for the rest of the run. 

 

 I found some photos of the celebs who attended.  Mick Jagger & Melanie Hamrick (in a Dolce & Gahanna dress) were at the after party, but I'm not sure if they saw the ballet.  The photo was definitely inside of Geffen Hall, where the party was held.

The NY Times review is available for those with subscriptions.  Verdict - too much plot, not enough dancing.

 

Edited June 23, 2023 by abatt

[abatt]

Forgot to mention the stellar work of Hurlin.  I am eager to see her in every role she takes on. 

Also, watching Trenary and Cornejo together made me eager to see their R&J.  I hope it actually happens.

The role of Dr. Brown is  very minimal. Nice to see Forster on stage, but it is a very forgettable role.

Edited June 23, 2023 by abatt

[Papagena]

1 hour ago, abatt said:

The role of Dr. Brown is  very minimal. Nice to see Forster on stage, but it is a very forgettable role.

Maybe it's like the Prince Gremin character in Onegin (Tatyana's husband in Act II)? That role can disappear completely but I've seen both James Whiteside and Roman Zhurbin (of course) elevate it into something that stuck in my heart. 

Excited to see if Royal or Curley can bring something to the table here. 

[Helene]

To discuss critics' reviews of Like Water for Chocolate, please continue the discussion here in the Writings on Ballet forum:

 

[NinaFan]

2 hours ago, abatt said:

Last night it was 3 hours, but it was a "gala" night so maybe the intermissions will be a little shorter for the rest of the run.

Thank you!

[abatt]

Last night the run time was approx. 2 hrs. 50 min.

 

[LIslandArts]

Just saw the matinee showing of Water for Chocolate. It is a full-on theatrical extravaganza for certain! I see what the NYT article was saying, about the lack of actual dancing, and more focus on plot and storytelling. It gets quite slow at times, but the Campfire dance was the highlight of the show. So much noticeable talent onstage. 

Joowon and Devon were the principals, joined by a variety of soloists and fresh faced corps members getting some exciting opportunities. Ahn’s galant and noble nature turned Pedro into a proper gentleman, and Devon should be given an Oscar at this point! They’ve danced together many years now and their chemistry together only grows. 

 

Michael De la Nuez was a standout, though a little reserved for a leading revolutionary figure. From what I could gather in social media this was his debut so that’s understandable. He is one to watch very closely. Lovely proportions and lines.

 

Zimmi Coker as Gertrudis was a shock of a casting choice, one I was pleasantly surprised by. As the rambunctious and saucy middle child she lit up the stage with confidence and clarity. 

 

Betsy McBride as the Eldest sister Rosaura pulled on everyone’s heartstrings, as you couldn’t help feel sorry for her. I saw her in Joshua Beamish’s Giselle a few weeks ago and couldn’t help but feel she transferred some of what she worked on into this role; notably for the better. 

 

Jarod Curley was a lovely Dr. John, one I could vividly see depicted in the books. I’m so used to seeing him as a domineering ferocious figure, like his Hilarion and Mithridates, yet today we were introduced to a softer side of his dancing. I wish Wheeldon had flushed out his character more. As someone mentioned before me, Dr. John is a bit forgettable, but no fault to Curley. He did the most with very little material. 

 

The octet of Ranch Workers have to be my favorite part of the show. They have some of the only consistent dancing material in the show, and each of them tear up the vast Met stage with vigor and passion. Patrick Frenette, Sung Woo Han (these two NEVER cease to impress me—2 of the company’s most capable men) Nathan Vendt, and Jake Roxander seemed a crew of brothers out there to have nothing but fun! And the lovely ladies Rachel Richardson, Kotomi Yamada, Erica Lall, and Yoon Jung Seo shined and shimmered in the campfire. You couldn’t help but feel the spirit of Mexico City rich in their bright blue costumes. 

 

The ballet itself is QUITE long, I feel like certain sections could be shorter or cut entirely. The flashback with Elena’s past is stale and unimaginative. It’s difficult to sympathize with such an abusive manipulative mother while a chair routine from Chicago ensues in the back of the stage! 

 

I enjoyed the show well enough but will probably not attend it again. In my opinion, Alexei’s Of Love and Rage is a much stronger ballet—based on the numerous dancing opportunities to enjoy, the musical composition (so much of Joby Talbot’s score repeats itself like a broken record) and Ratmansky’s ravishing choreography. I would be interested in Wheeldon making a brand new full length on ABT, hopefully something with a bit more movement! 
 

All in, it’s safe to say today’s show belonged to Ahn, Han, Frenette, Coker, and the exemplary cast of corps men who set the entire house ablaze in the campfire scene.
 

Edited June 24, 2023 by LIslandArts

[TheAccidentalBalletomane]

I saw LWFC Fri night, w/ the Park/Misseldine/Brandt/Camargo/Bell Cast.  The music conveyed the story fairly well and I enjoyed the Mexican/ethnic style sound and the conductor was very well received. I thought the acting was excellent throughout the cast, which is important since much of the first act, especially, was mostly storytelling and not very much interesting or challenging dancing, although I liked the use of the table and chairs to aid in creating interesting positions around the kitchen table and in other scenes. I note, in particular the acting of the mother (Misseldine) as the ultimate wicked mom; as it is hard for someone so angelic to pull off that character (and she did); and I had to do a double take watching a recent innocent P. Praline / Giselle, now the sister Gertrudis, turn into a woman overcome by desire with a man (men?) having their way with her in a frantic scene ending on horseback.  It was fun and strange seeing  these transformations -- congrats to these dancers.  The dancing was more energetic and less dark of course with the celebration dancing with Gertrudis featured with the men in the campfire scene; some of which looked difficult (I cannot describe what Bell was doing but he was doing it very fast). The dancing/choreography definitely picked up in middle of the second act.  I plan to go one more time to see Brandt dance Tita.   I liked the imagery of the larger than life mother/Misseldine in the crazy long red hair-fro.. I felt it helped convey the correct emotions as to what Tita was feeling in her mind although I know you want to try to convey that with your dance movements.  I will let others correct me on that.  The Times felt that some of the costuming and special effects were a substitute for creative choreography, especially in the first Act and first half of the second.  This is a fair point and am interested if others agree.  

[abatt]

5 minutes ago, TheAccidentalBalletomane said:

I saw LWFC Fri night, w/ the Park/Misseldine/Brandt/Camargo/Bell Cast.  The music conveyed the story fairly well and I enjoyed the Mexican/ethnic style sound and the conductor was very well received. I thought the acting was excellent throughout the cast, which is important since much of the first act, especially, was mostly storytelling and not very much interesting or challenging dancing, although I liked the use of the table and chairs to aid in creating interesting positions around the kitchen table and in other scenes. I note, in particular the acting of the mother (Misseldine) as the ultimate wicked mom; as it is hard for someone so angelic to pull off that character (and she did); and I had to do a double take watching a recent innocent P. Praline / Giselle, now the sister Gertrudis, turn into a woman overcome by desire with a man (men?) having their way with her in a frantic scene ending on horseback.  It was fun and strange seeing  these transformations -- congrats to these dancers.  The dancing was more energetic and less dark of course with the celebration dancing with Gertrudis featured with the men in the campfire scene; some of which looked difficult (I cannot describe what Bell was doing but he was doing it very fast). The dancing/choreography definitely picked up in middle of the second act.  I plan to go one more time to see Brandt dance Tita.   I liked the imagery of the larger than life mother/Misseldine in the crazy long red hair-fro.. I felt it helped convey the correct emotions as to what Tita was feeling in her mind although I know you want to try to convey that with your dance movements.  I will let others correct me on that.  The Times felt that some of the costuming and special effects were a substitute for creative choreography, especially in the first Act and first half of the second.  This is a fair point and am interested if others agree.  

Misseldine was the eldest sister, not the mother.  The mother was  Claire Davison.  Claire missed her big moment of cursing Pedro. She is supposed to touch the top of his head. at the end of Act II.  She was too tall on that contraption that she was being wheeled around on, and the best she could do was wave her arms around the vicinity of Pedro's (Carmago's) head.  

 

I definitely agree with the post above that Of Love and Rage had considerably more classical ballet than LWFC.  LWFC is balle Light.  Is it a sacrilege to say I preferred Carmago.  Cornejo was good, but Carmago was better.  I was less impressed with Park.  The role requires better acting, and she lacks experience compared to Trenary.  I thought Brandt was all wrong for the feisty middle sister in the second cast.  Her dinner table orgy scene was disjointed and awkward.  In Hurlin's hands it flowed more seamlessly and looked sexy.   Also, whose bright idea was is to pair Aran Bell with Brandt in the campfire scene.  He looked like a giant and she looked like a midget.

Yes, Wheeldon relies heavily on special effects and other bells and whistles instead of creating choreography.  Maybe this is what audiences prefer.  I'm not sure.  

[stuben]

7 hours ago, abatt said:

Misseldine was the eldest sister, not the mother.  The mother was  Claire Davison.  Claire missed her big moment of cursing Pedro. She is supposed to touch the top of his head. at the end of Act II.  She was too tall on that contraption that she was being wheeled around on, and the best she could do was wave her arms around the vicinity of Pedro's (Carmago's) head.  

 

I definitely agree with the post above that Of Love and Rage had considerably more classical ballet than LWFC.  LWFC is balle Light.  Is it a sacrilege to say I preferred Carmago.  Cornejo was good, but Carmago was better.  I was less impressed with Park.  The role requires better acting, and she lacks experience compared to Trenary.  I thought Brandt was all wrong for the feisty middle sister in the second cast.  Her dinner table orgy scene was disjointed and awkward.  In Hurlin's hands it flowed more seamlessly and looked sexy.   Also, whose bright idea was is to pair Aran Bell with Brandt in the campfire scene.  He looked like a giant and she looked like a midget.

Yes, Wheeldon relies heavily on special effects and other bells and whistles instead of creating choreography.  Maybe this is what audiences prefer.  I'm not sure.  

Agree and I’m glad you made the correction, and if I might add IMO I thought Misseldine was miscasted as well, no doubt she’s a good dancer but she also lacks the maturity for a role like Rosaura. 

[TheAccidentalBalletomane]

THANK YOU Abatt for the correction!!!!! Of course, Davison was "Mama Elena" and Misseldine, Rosaura, the older sister (Fri).   Embarrassed, especially after 10+ years of watching these dancers closely....   Now that my head is back on my shoulders, and recalling the other night (Fri) I still feel they all did a splendid job with their "acting" their roles and was fine with the casting and partnering.  I thought Park (Tita), did a good job acting the role, at least with the storytelling in Act I. Although, she was a surprise to me to be cast when there are many other more senior ladies that could been given the role.  I'm going  to see a different cast this week, and will try to discern the differences in quality or cast preferences that others have pointed out. I am still learning.  For me, Tita spends an inordinate amount of time being the heartbroken victim of her mother's cruel tradition. Its tiring and for me. There isn't enough initial dancing which might help establish Tita's and Pedro's initial love and connection and if I were to have one "wish" for the choreography, it would be to have more courtship dancing and more dancing surrounding Pedro's decision/agreement to marry Rosaura (and her consent) in the first place (which never makes sense to me). On another note, it was GREAT to be at the Met without a mask and seeing Lincoln Center busy and thriving, finally!!

[balletlover08]

Here's a video of Chloe Misseldine as Rosaura that she posted on Instagram since quite a few have commented on her acting. 

https://www.instagram.com/p/Ct7CjGMgMsI/?hl=en