volcanohunter Posted June 16 Share Posted June 16 (edited) 2 hours ago, Helene said: National Ballet of Canada is far from national in either sense, especially since the tours outside of the mini-tour to Ottawa, the Federal capital, have pretty much dried up. Royal Winnipeg Ballet toured far more extensively through the mid-teens. All it NBoC has is the label of "National." That label was always contentious, because the Winnipeg Ballet was older (and as compensation it received the first royal charter of the reign of Elizabeth II), although whether its professional roots can be traced legitimately to 1939 is debatable. Then suddenly this upstart company, which cannibalized the earlier efforts of Boris Volkoff in Toronto, had the gall to call itself "National." Furthermore, Celia Franca later admitted that she has little interest in touring, but that initially she could not present big seasons in Toronto. It is the largest company in the country, and it gives the largest number of performances, but the "national" thing is self-appointed. No acts of parliament involved. Edited June 16 by volcanohunter Link to comment
Becki Lee Posted June 17 Share Posted June 17 Skylar just posted on her Instagram story: (Not sure if this was part of the original changes mentioned….) Casting change! I will no longer be performing the role of Olga on Wednesday, June 19th. My shows will now be Friday, June 21st at 7:30 and Saturday, June 22nd at 7:30 Link to comment
Novice123 Posted June 17 Share Posted June 17 ABT's short Behind the Scene videos are a great idea. Behind the Ballet with Elizabeth Kaye, Link to comment
nysusan Posted June 17 Share Posted June 17 I just changed my Friday night ticket to opening night. Not crazy about the principals but REALLY want to see Roxander and Coker, hopefully that holds! Link to comment
Dale Posted June 17 Share Posted June 17 From ABT: CASTING ANNOUNCED FOR FINAL THREE WEEKS OF AMERICAN BALLET THEATRE’S 2024 SUMMER SEASON AT METROPOLITAN OPERA HOUSE CORPS DE BALLET CELEBRATION FOLLOWING SWAN LAKE PERFORMANCE ON FRIDAY, JULY 5 HERMAN CORNEJO 25th ANNIVERSARY TOAST FOLLOWING LIKE WATER FOR CHOCOLATE PERFORMANCE ON FRIDAY, JULY 19 NEW YORK, NY (Monday, June 17, 2024) – Casting for the final three weeks of American Ballet Theatre’s 2024 Summer season at the Metropolitan Opera House was announced today by Artistic Director Susan Jaffe. Week three of ABT’s Summer season will open on Monday evening, July 1 with the first performance of Swan Lake, led by Isabella Boylston as Odette/Odile, Daniel Camargo as Prince Siegfried, and Jose Sebastian as von Rothbart. Both Chloe Misseldine (Odette/Odile) and Joseph Markey (von Rothbart) will make their New York debuts at the matinee performance on Wednesday, July 3. Set to music by Peter Ilyitch Tchaikovsky, Swan Lake is choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov and features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000, at The John F. Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette/Odile) and Angel Corella (Prince Siegfried) in the leading roles. The ballet will be given eight performances this season. Kenneth MacMillan’s Romeo and Juliet will open on Tuesday evening, July 9 with Devon Teuscher and Aran Bell in the title roles and Carlos Gonzalez as Mercutio. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton.Romeo and Juliet received its World Premiere by The Royal Ballet in London on February 9, 1965, and was given its ABT Premiere at The John F. Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985, with Leslie Browne and Robert La Fosse in the leading roles. Romeo and Juliet will be given seven performances through July 13 at the Metropolitan Opera House. The final week of the 2024 Summer season will feature seven performances of Like Water for Chocolate beginning Tuesday evening, July 16 with Cassandra Trenary as Tita, Herman Cornejo as Pedro, Christine Shevchenko as Mama Elena, Chloe Misseldine as Rosaura, Catherine Hurlin as Gertrudis, and Thomas Forster as Dr. John Brown. Gillian Murphy will make her debut as Mama Elena at the matinee performance on Wednesday, July 17, while Fangqi Li will make her debut as Rosaura at the Wednesday, July 17 evening performance. Based on the bestselling novel by Laura Esquivel, Like Water for Chocolate tells the story of Tita, a young Mexican woman who is overwhelmed by a sense of duty and family tradition. Tita’s only form of expression is through cooking, but her life takes an unexpected turn when she falls in forbidden love with her neighbor Pedro. From the award-winning team of choreographer Christopher Wheeldon and composer Joby Talbot, this co-production with The Royal Ballet features scenery and costumes by Bob Crowley, lighting by Natasha Katz, and video design by Luke Halls. The ballet received its World Premiere by The Royal Ballet on June 2, 2022, at the Royal Opera House, Covent Garden, London, led by Francesca Hayward as Tita and Marcelino Sambé as Pedro. It received its North American Premiere by American Ballet Theatre on March 29, 2023, at Segerstrom Center for the Arts in Costa Mesa, California, led by Cassandra Trenary as Tita and Herman Cornejo as Pedro. Tickets for American Ballet Theatre’s 2024 Summer season at the Metropolitan Opera House begin at $30 and are available online, at the Met box office, or by phone at 212-362-6000. The Metropolitan Opera House is located on Broadway and 64th street in New York City. For more information, visit ABT’s website atwww.abt.org. Complete casting follows. *All casting, programming, and pricing are subject to change. 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®. Swan Lake is generously underwritten by R. Chemers Neustein. American Ballet Theatre’s performances of Romeo and Juliet are generously underwritten through an endowed gift from Ali and Monica Wambold. Leadership support of ABT’s New Works Initiative is provided by the Blavatnik Family Foundation, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Special thanks to Denise Littlefield Sobel for her leadership gifts to: ABT Today Fund, advancing the Company’s mission; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. ABT is supported, in part, with public funds from the New York State Council on the Arts with the support of The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. Link to comment
ABT Fan Posted June 17 Share Posted June 17 24 minutes ago, nysusan said: I just changed my Friday night ticket to opening night. Not crazy about the principals but REALLY want to see Roxander and Coker, hopefully that holds! I just changed my Friday night to Wed night - at least part of that cast should be great. Would loved to have seen Roxander/Coker so please report back. Link to comment
Mary Mellowdew Posted June 17 Share Posted June 17 I was not able to exchange my ticket for Fri Jun 21 for one for Thurs Jun 20. The reason was I had a discounted ticket bought in May when they offered 30% off for Mother's Day using code ABTMOM. Although the exact same seat was available for Thurs night that I had for Friday, along with many similar ones in same price range, they would not let me have it unless I paid the difference between discounted and full prices. They said this was because the discount code expired more than a month ago (obviously, since Mother's Day was more than a month ago). I assume the same would apply to anyone who bought the same 30% off tickets offered this weekend, using the Father's Day code, and likely other discount codes as well. So people buying discounted tix should keep in mind that exchange privileges that might otherwise apply likely won't apply unless the discount code is still in effect when they attempt to make an exchange. If you have access to TDF or maybe TKTS, for unpopular ballets like Onegin probably better to wait until very last minute and get rock bottom el cheapo tix, or maybe join one of the community groups to which they have been handing out free last minute tix when even TDF and TKTS can't get rid of all their empty seats. Link to comment
abatt Posted June 17 Share Posted June 17 The tdf tickets for Onegin are gone. They were up last week for sale on TDF. Link to comment
stuben Posted June 17 Share Posted June 17 22 hours ago, Mary Mellowdew said: I also second that. Personally, based on what I have seen, I would rank ABT no higher than 3 or 4 in the US (, maybe 5, based in large part of on what they do and do not perform -- i.e., their repertoire. This is why I find calling them "America's National Ballet Company" so stupid, not to mention confusing to people in other countries, despite what Carolyn Maloney might think. And I would also rank NYCB #1, without question. I completely agree they have gone downhill, and the rep is so "dusty" compared to what NYCB is offering, and for that matter what many others around the world are offering. I would rank NYCB as #1 as well. Their marketing and the concepts of art with dance is just so much more exciting to spend my money on. I feel like they are turning into a more "regional" ballet company that one that is supposed to represent the US! Not what Lucia Chase envisioned IMHO. Link to comment
Becki Lee Posted June 17 Share Posted June 17 (edited) Devon’s post on Instagram “It is with great disappointment and sadness I have to announce that I will not be performing in this weeks performances of Onegin due to unforeseeable circumstances. I have poured my heart and soul into preparing the role of "Tatiana" and look forward to the day I will bring her to life. (I will be performing as scheduled for the remainder of the season. Link to tickets in bio)” Edited June 17 by Becki Lee Misspelled Devon (or autocorrect did! :)) Link to comment
ABT Fan Posted June 17 Share Posted June 17 6 minutes ago, Becki Lee said: Devin’s post on Instagram “It is with great disappointment and sadness I have to announce that I will not be performing in this weeks performances of Onegin due to unforeseeable circumstances. I have poured my heart and soul into preparing the role of "Tatiana" and look forward to the day I will bring her to life. (I will be performing as scheduled for the remainder of the season. Link to tickets in bio)” Safe to assume then that she and Camargo were pulled by the Cranko estate. I can’t imagine how they feel. Must be utterly heartbreaking. Link to comment
abatt Posted June 17 Share Posted June 17 Devon would have been wonderful in this. Truly baffling. Link to comment
FauxPas Posted June 17 Share Posted June 17 Daniel Camargo has very little social media activity - his Instagram account has been silent for two years. So radio silence on his end. This is a promotional video for "Onegin" with Devon Teuscher and Cory Stearns put out by ABT (can't be embedded - catch it on YouTube). It looks like Devon is giving a very expressive and impressively detailed performance of Tatyana. https://youtu.be/H1TPH4kjVG8 Camargo is very sexy and a wonderful actor. It is just baffling what could have been the issue that both dancers were found unacceptable by the stagers (if that is indeed the case). Link to comment
ABT Fan Posted June 17 Share Posted June 17 Teuscher and Camargo would have been excellent. His Romeo is breathtaking, a very dramatic and natural interpretation. It’s inexplicable why they’d be pulled. He is active on IG. His last post was after the fall season but he releases stories regularly. https://www.instagram.com/camargosart?igsh=d2Z5bW4xd2Qxcml0 Link to comment
its the mom Posted June 17 Share Posted June 17 On 6/16/2024 at 12:59 PM, volcanohunter said: As Josette wrote earlier, cast changes in Onegin probably aren't a matter of ABT not having its house in order. The Cranko estate (i.e., Reid Anderson) has been known to prohibit certain dancers from dancing the ballet, to withdraw dancers at the last moment (this happened in November to the National Ballet of Canada), to withdraw permission to perform excerpts from the ballet at galas, also at the last minute; I attended two galas at which this happened. The withdrawals have been known to happen when dancers were already in costume, waiting for the curtain to go up. Collectively the late Dieter Gräfe and Reid Anderson were known as the Cranko Boys, but my mother aptly renamed them the Cranky Boys. So buyer beware, and get your Onegin tickets as late as possible. Exactly! Cranky Boys for sure! Link to comment
FauxPas Posted June 17 Share Posted June 17 The only issue that I might think a stager/coach could have found Teuscher lacking in is flexibility. Devon is a beautiful dancer and has fine technique but she has a low arabesque and a rather stiff back. In some ballets it is not required (Etudes) and in others it would be noticeable. She is a rather vertical dancer in stance and approach. We are used to bendy ballerinas with boneless backs and ear-grazing extensions. Teuscher would look old-fashioned next to them. That might have been an issue with Cranko's choreography where Tatyana is being twirled around like a rag doll and dangled from the partner's shoulders and doing 180 ecartés. Link to comment
Helene Posted June 17 Share Posted June 17 If management is contractually obligated to heed stagers, which is the only way to get certain works, then the stagers don’t have to give reasons. They can decide because they don’t like something, or because they think their bosses won’t. Lots of things that might make us scratch our heads, but they have the power. There are works where management decides are worth the risk, whether widely known, like with Cranko works, or surprises. Link to comment
Drew Posted June 17 Share Posted June 17 1 hour ago, ABT Fan said: Safe to assume then that she and Camargo were pulled by the Cranko estate. I can’t imagine how they feel. Must be utterly heartbreaking. 1 hour ago, abatt said: Devon would have been wonderful in this. Truly baffling. Whoever makes the decisions makes the decisions. The decisions are theirs to make, and I'm in no position to evaluate them professionally. But since this is a public message board, I would just as soon join in communicating to anyone who reads this thread that more than a few members of the ballet audience, including long term ballet goers who have seen the greats in this ballet -- I missed Vishneva but saw both Makarova and the incomparable Haydee -- well, that many of us are sad that Teuscher won't have a chance to dance Tatiana in Cranko's Onegin. At least this season. I enjoyed all three casts of Like Water for Chocolate that I saw last year, but for a couple of the ballet's biggest dramatic moments the dancer who lingers most in my memory is, in fact, Teuscher. Huge sympathy to Camargo as well. Link to comment
abatt Posted June 17 Share Posted June 17 I recall seeing all 4 casts of this last time they showed it- Vishneva Gomes, Kent Bolle, Seo Hallberg and Dvorovenko Stearsn. I liked all of the casts EXCEPT Dvorovenko Stearns. In fact, this was the first time I had an entirely positive reaction to Seo, and realized that what she lacked in technique she made up for in dramatic insights. Link to comment
Drew Posted June 17 Share Posted June 17 Postscript: I went back to look at an earlier Balletalert discussion of the Cranko Trust when the Bolshoi staged Onegin for the first time. In that discussion people mentioned some of the dancers the trust had nixed even before the kerfuffle with Zakharova's opening night. (Including one of the bendiest dancers that ever lived--also, in my experience a memorable actress--Sylvie Guillem). If Camargo and Teuscher were indeed pulled by the trust, then perhaps they can take a smidgeon of comfort at finding themselves in some pretty illustrious company. The thread includes much other discussion, but here is the link: Link to comment
NinaFan Posted June 17 Share Posted June 17 1 hour ago, abatt said: I recall seeing all 4 casts of this last time they showed it- Vishneva Gomes, Kent Bolle, Seo Hallberg and Dvorovenko Stearsn. I liked all of the casts EXCEPT Dvorovenko Stearns. In fact, this was the first time I had an entirely positive reaction to Seo, and realized that what she lacked in technique she made up for in dramatic insights. Ditto on the Seo/Hallberg performance. She was quite impressive in the role. 57 minutes ago, Drew said: Postscript: I went back to look at an earlier Balletalert discussion of the Cranko Trust when the Bolshoi staged Onegin for the first time. In that discussion people mentioned some of the dancers the trust had nixed even before the kerfuffle with Zakharova's opening night. (Including one of the bendiest dancers that ever lived--also, in my experience a memorable actress--Sylvie Guillem). If Camargo and Teuscher were indeed pulled by the trust, then perhaps they can take a smidgeon of comfort at finding themselves in some pretty illustrious company. The thread includes much other discussion, but here is the link: Oh my goodness! Sylvie Guillem was denied the role? Makes you wonder what the trust is looking for in a dancer! Good research btw! Link to comment
matilda Posted June 17 Share Posted June 17 Interestingly, Daniel Camargo was a principal at the Stuttgart Ballet when Reid "Cranky" Anderson was AD. Link to comment
Helene Posted June 18 Share Posted June 18 It makes no sense to me that ABT would announce casting without having sent a preliminary list for feedback and/or knowing there was an issue, or that the stagers would have made decisions before seeing what was happening in the studio. All kinds of unprofessional things can happen in the arts and in corporate life, but ballet is a small world. It's a great story. I wish someone would come up with a version that wasn't tied up with the Cranko people. Link to comment
California Posted June 18 Author Share Posted June 18 Does anyone know how much control the MacMillan trust has on casting for Manon? From interview comments by Jaffe, it seemed this was a good possibility for 2025. For that matter, do they control casting for their R&J? Link to comment
Papagena Posted June 18 Share Posted June 18 (edited) 18 minutes ago, California said: Does anyone know how much control the MacMillan trust has on casting for Manon? From interview comments by Jaffe, it seemed this was a good possibility for 2025. For that matter, do they control casting for their R&J? I believe Deborah MacMillan still approves the leads? Or maybe it's just the ballet licensing. Someone correct me if I'm wrong but the MacMillan estate doesn't seem to have the same unpredictable reputation as the Cranko estate in terms of removing dancers after being cast. It's clear that ABT had no basis for believing this could happen. Is this a first for an ABT Cranko ballet? Edited June 18 by Papagena Link to comment
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