Like Water For Chocolate Segerstrom Center 3/29-4/2

[angelica]

19 hours ago, ABT Fan said:

 I hope Jaffe will make better programming decisions for next year than McKenzie has saddled us with.

McKenzie's parting gift to ABT>

[volcanohunter]

10 hours ago, miliosr said:

We'll see if Christopher Wheeldon's 'name' is enough to get people into seats at the Met. My sense about MJ is that Michael Jackson's music is the draw for audiences.

The Segerstrom Center has been getting first dibs on ABT's new productions, and in this case perhaps the company is hoping to appeal to new audiences of Mexican origin.

As for Wheeldon, I didn't see MJ, but I did attend An American in Paris in the hopes of seeing some substantive choreography. (I was mostly disappointed.) Lincoln Center brought in the National Ballet of Canada to do Alice and The Winter's Tale and San Francisco Ballet to do Cinderella, but not at the Met, and not for 12 shows.

9 hours ago, California said:

A more "traditional" Sleeping Beauty would sell, but I'm not sure about the Ratmansky reconstruction -- all that demi-pointe, no fish dives. Alas, they'd have to go back to the Kirkland version, which had problems of its own.

Some of the couples did do fish dives, and during a Zoom interview with the London Ballet Circle in the fall, Ratmansky acknowledged that the attempted 19th-century performance style was an obstacle for audiences, which is why he didn't insist on it in his Giselle. I don't know what exactly he would allow to change, but he seems flexible about it. Personally, I'm okay with demi-pointe and would hate to see the return of 6 o'clocks.

[nanushka]

16 minutes ago, volcanohunter said:

Some of the couples did do fish dives...

Most, in fact. The year it premiered, Lane and Cornejo were the only couple to do the notated choreography in place of the fish dives. I'm not sure if anyone did the same in later years, but it definitely wasn't the norm.

[volcanohunter]

That's right. Ratmansky OKed the fish dives as an homage to the Ballets Russes production. 

https://m.facebook.com/story.php?story_fbid=pfbid02ZM2Gf55byuttrq44xnNPtnpBRCHWcueT64yq1WbCQrcDAujL2bcxxxmA6NpRvTFDl

[DPell]

Like Water For Chocolate synopsis read by Lumi Cavazos, who played Tita in the film adaption.

 

[fondoffouettes]

For the 2019 revival of Ratmansky's Sleeping Beauty, he revised the Act II and III pas de deux based on newly discovered sketches by Pavel Gerdt (the original Prince Désiré).

https://m.facebook.com/photo.php?fbid=10214181044504900&set=a.1133754148868&type=3&eid=ARAZrgrAZ3X-NKxkboNDOV6F6zv1n97-dz9cq293O8skvCj3r-4chh4QXTESjymwvhncw0M5ymuWeWvG

I believe he replaced the fish dives for all casts that year. And the new move was different from what Cornejo and Lane had done in previous years. However, the pas de deux still ended with a fish dive, though not one where the ballerina is knocked off her leg while turning beforehand. I'm curious whether that final fish dive was in the Gerdt sketches or if it was a concession to modern tastes.

I recall the Vision pas de deux looked especially lovely in 2019, though it was difficult for me to identify exactly what Ratmansky had changed.

I long to see the Ratmansky reconstruction again; it was one of the richest pieces of choreography I'd ever experienced. I felt he added so much more to the tapestry of that full-length than he took away (like the fish dives). I didn't get the impression that it sold less well with the general public than ABT's previous Sleeping Beauty. 

Edited March 23, 2023 by fondoffouettes

[maps]

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Edited May 18, 2023 by maps
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[Kamicos]

On 3/3/2023 at 9:52 AM, stuben said:

Matilda, you read my mind on this! Puzzling indeed as I was thinking of the other seasoned soloists like K. Williams not being in any of these casts or even L. Paris or even B. Gruland. Do dancers get a chance to "audition" for roles or do AD/Choreographers just look at Youtube to make decisions? It is even more puzzling when looking at the bios that two of the newly minted soloists have little to no rep experience. They are as you say "promising" but this is a premier so I would assume more seasoned dancers would get an opportunity, even from the corps. Interesting that the cast is mostly White and Asian, other than the male casting, isn't this a story about a Mexican family?

I am equally puzzled with Misseldine but do wonder if she came as a package with her ex-ABT soloist mother, Yan Chen, who is now part of the artistic team in ABT's junior company. I am sure it doesn't hurt to have a parent's help in coaching. This is all speculating and agree that they are all technically talented but this ballet requires a depth of acting, so this will be interesting to see how they rise to the occasion. I do think that the company is taking a big risk, especially for a premier. CA is a good testing ground before they bring it to NYC.

Yes, I had the same reaction at the time of the promotions last year. Although I to think that the new blood is going to be great for ABT, and that both Park and Misseldine have great promise, I also believe that dancing in the corps de ballet, for at least two seasons, is particularly good experience and conveys that the promotion has been earned. These promotions, I thought, were premature and took president over those who, in my opinion, were more deserving one of whom, was Zimmi Coker. I was also perplexed that there were no male promotions save one. I truly hope that Jaffe recognizes the talent and promise that Coker brings and that her time for a promotion has come! 

 

[MoMo]

1 hour ago, Kamicos said:

Yes, I had the same reaction at the time of the promotions last year. Although I to think that the new blood is going to be great for ABT, and that both Park and Misseldine have great promise, I also believe that dancing in the corps de ballet, for at least two seasons, is particularly good experience and conveys that the promotion has been earned. These promotions, I thought, were premature and took president over those who, in my opinion, were more deserving one of whom, was Zimmi Coker. I was also perplexed that there were no male promotions save one. I truly hope that Jaffe recognizes the talent and promise that Coker brings and that her time for a promotion has come! 

 

I agree about the promotions. IMO there at least four male Corps members who deserved promotions and didn’t receive them : Patrick Frenette, Jarod Curley. Carlos González and Tyler Maloney. This is based on their extensive good work last year. I hope Susan Jaffe looks at these dancers closely this year. 

[angelica]

MERDE!!!!

 

[Olga]

On 3/23/2023 at 12:36 PM, fondoffouettes said:

For the 2019 revival of Ratmansky's Sleeping Beauty, he revised the Act II and III pas de deux based on newly discovered sketches by Pavel Gerdt (the original Prince Désiré).

https://m.facebook.com/photo.php?fbid=10214181044504900&set=a.1133754148868&type=3&eid=ARAZrgrAZ3X-NKxkboNDOV6F6zv1n97-dz9cq293O8skvCj3r-4chh4QXTESjymwvhncw0M5ymuWeWvG

I believe he replaced the fish dives for all casts that year. And the new move was different from what Cornejo and Lane had done in previous years. However, the pas de deux still ended with a fish dive, though not one where the ballerina is knocked off her leg while turning beforehand. I'm curious whether that final fish dive was in the Gerdt sketches or if it was a concession to modern tastes.

I recall the Vision pas de deux looked especially lovely in 2019, though it was difficult for me to identify exactly what Ratmansky had changed.

I long to see the Ratmansky reconstruction again; it was one of the richest pieces of choreography I'd ever experienced. I felt he added so much more to the tapestry of that full-length than he took away (like the fish dives). I didn't get the impression that it sold less well with the general public than ABT's previous Sleeping Beauty. 

I’m concerned about Ratmansky’s rep at ABT now that he has moved across the plaza.

[MoMo]

I saw Dress Rehearsal/Tech Rehearsal of Like Water for Chocolate yesterday , 3/29. ABT rehearsed Act I twice with different casts. The ballet has clever sets and lighting. The stage crew has to be on their toes! It helped to read the synopsis before the ballet. This ballet has a complex story and intricate steps. The choreography is not classical. But to me resembled Anthony Tudor/Pillar of Fire. There is much emotion and feeling in this ballet. But the dancer/actors are up to the task. Music was by a solo piano but performances will have SoCal’s Pacific Symphony.  I will be seeing full ballet on Saturday, April 1st matinee. 

[ksk04]

I saw the opening last night. I'll have more formed thoughts after seeing it again tonight, but I am pretty neutral about the entire venture. There's a lot of moving around and too little memorable dancing, for me. The scenes that stuck out as captivating to me (the ones that I can replay moments of in my head) are the famous Gertrudis goes wild scene and the later scene with the revolutionaries; Mama Elena's diary reenactment; the opening scene with Tita and the maid Nacha; and the final pas de deux. The scene projections worked the best I have seen with Tita/Pedro being engulfed in flames for the final image which was very compelling and showed the way that projections could achieve an effect otherwise difficult in the theater. I understand that part of the text itself is that Tita and Pedro have only fleeting encounters with each other but everything was so briefly sketched and then rushed in and out of, in the first act in particular, it was hard to  connect with anything on the stage. The first act is so long (54 minutes compared to a listed 32 and 20 for the next two acts) and with so much happening, there is little room for introspection or character-building emotional arcs beyond broad sketches. Maybe I will have a different reaction after knowing more what to expect.

It also seems like a lot of retread from Wheeldon's (and Joby Talbot's) recent full lengths for the Royal like Alice (Mama Elena, in act 2, seems a caricature of the already-caricature Queen of Hearts, for example) or The Winter's Tale if you have seen those from streaming or on tour before; for my preference, though, The Winter's Tale offers more emotional introspection to arrive through dance.

 

It would be nice if SCFTA could start any program on time and not overrun intermissions...I can accept some leeway for opening night of a new-to-the-company production but it's so continual; it causes no one to believe the bell to head in which compounds the situation.

[ksk04]

Last night's cast--Carmago, Park, and Fang--worked a lot better for me. I've never seen Carmago or Park and had no preconceptions about them but they seemed to have more clearly sketched emotional expression throughout (except maybe not the maturity, physically, particularly, in the final pdd that Trenary/Cornejo offered). I felt Fang made more sense as Elena--and Misseldine as Rosaura--than Shevchenko (who I have otherwise appreciated) or Seo. Fang has more experience with character-driven secondary roles like this and I think that was transmitted. I felt Carmage/Park/Fang also had better chemistry between them.

First act is still too long and too rushed though! SCFTA did a better job timing-wise though I think they should just cut the stupid video at the start which doesn't convey anything of substance (especially compared to the Royal Ballet insight videos they are excerpted from which I have watched previously and felt were actually insightful). Shouldn't actual program notes convey the same information about production's intent and background?

 

Once more tonight with the opening cast of Trenary/Cornejo.

[stuben]

19 hours ago, ksk04 said:

I saw the opening last night. I'll have more formed thoughts after seeing it again tonight, but I am pretty neutral about the entire venture. There's a lot of moving around and too little memorable dancing, for me. The scenes that stuck out as captivating to me (the ones that I can replay moments of in my head) are the famous Gertrudis goes wild scene and the later scene with the revolutionaries; Mama Elena's diary reenactment; the opening scene with Tita and the maid Nacha; and the final pas de deux. The scene projections worked the best I have seen with Tita/Pedro being engulfed in flames for the final image which was very compelling and showed the way that projections could achieve an effect otherwise difficult in the theater. I understand that part of the text itself is that Tita and Pedro have only fleeting encounters with each other but everything was so briefly sketched and then rushed in and out of, in the first act in particular, it was hard to  connect with anything on the stage. The first act is so long (54 minutes compared to a listed 32 and 20 for the next two acts) and with so much happening, there is little room for introspection or character-building emotional arcs beyond broad sketches. Maybe I will have a different reaction after knowing more what to expect.

It also seems like a lot of retread from Wheeldon's (and Joby Talbot's) recent full lengths for the Royal like Alice (Mama Elena, in act 2, seems a caricature of the already-caricature Queen of Hearts, for example) or The Winter's Tale if you have seen those from streaming or on tour before; for my preference, though, The Winter's Tale offers more emotional introspection to arrive through dance.

 

It would be nice if SCFTA could start any program on time and not overrun intermissions...I can accept some leeway for opening night of a new-to-the-company production but it's so continual; it causes no one to believe the bell to head in which compounds the situation.

Can I ask what the two children (a girl & a boy) in the show represent? I saw a social media post of what seemed like they were dancing the roles of Tita and Pedro. Yet in the same post, the copy had a "Parental Advisory" saying this ballet might not be suitable for young children, and discretion is advised for children under 13! Are those two on stage over 13? It seemed odd to have this warning while they had them on stage.

Also, totally agree with this long first act being that long, especially for the Met! I can't imagine the bathroom rush after that act I do wonder how ticket sales are doing at SCFTA since Met is significantly larger to fill, and if families with younger children can't attend I think that would be a concern.

[ksk04]

The children aren't Tita and Pedro--they only appear in the last act as the children of Pedro and Rosaura (the girl) and Dr. Brown (the boy); they then get exchanged for adultish versions for their wedding together. The kids were tallish but I am bad at ages so I couldn't tell you! The mature warning is for the rose petal sauce scene with Gertrudis and the final pas de deux neither of which has the child dancers in it.

[stuben]

25 minutes ago, ksk04 said:

The children aren't Tita and Pedro--they only appear in the last act as the children of Pedro and Rosaura (the girl) and Dr. Brown (the boy); they then get exchanged for adultish versions for their wedding together. The kids were tallish but I am bad at ages so I couldn't tell you! The mature warning is for the rose petal sauce scene with Gertrudis and the final pas de deux neither of which has the child dancers in it.

Thanks for clarifying

[BalanchineFan]

On 3/22/2023 at 8:08 AM, miliosr said:

We'll see if Christopher Wheeldon's 'name' is enough to get people into seats at the Met. My sense about MJ is that Michael Jackson's music is the draw for audiences.

I think it's Wheeldon's work on An American in Paris that they're hoping will help in NYC. It's similar in the film-adapted-into-ballet genre, even though it also has singing and a spoken narrative.