ABT Fall 2024 Season

[DPell]

1 hour ago, miliosr said:

The excuse given for not reviving the complete Tudor Romeo and Juliet is that it would be too costly. This excuse irritates me to no end when I think of all the money ABT has frittered away over the years on big budget bombs and artistic dead-ends (which would include all the money they threw at Alexei Ratmansky without getting a whole lot in return.)

I checked old Ballet Alert topics and I couldn't find any record of Jardin aux Lilas being performed at a Fall New York season since 2015.

If memory serves, they were supposed to do Lilac Garden at The Met in 2020. It would be nice if it comes back. 

[lmspear]

Is there any chance ABT will ever get to dance Fancy Free again?  Does anybody remember the circumstances under which they stopped performing it?  

[ABT Fan]

11 minutes ago, lmspear said:

Is there any chance ABT will ever get to dance Fancy Free again?  Does anybody remember the circumstances under which they stopped performing it?  

Please no. It was done to death and is still being performed (or until recently at least) by NYCB. I could go another 10 years before seeing that again. There are better, and rarer, ballets that should be brought back before this one, imo.

[lmspear]

I'm really curious as to how they lost it.

[abatt]

Like all of the Robbins ballets, it is owned by the Robbins Trust.  It is not owned by ABT.  The trust issues licenses in exchange for a fee for the right to perform a ballet for a specified time period. 

I'm with ABT Fan.  I don't need to see Fancy Free again for a long, long, long time. It is done so often across the plaza.

Edited July 19 by abatt

[FauxPas]

Though Jake Roxander could and should dance the jumping sailor and I am sure Isaac Hernandez would burn up the stage as the rumba sailor, we really DO NOT NEED TO SEE THIS AGAIN.

It was done back when ABT had the "dream team" starting with Ethan Stiefel, Angel Corella, Jose-Manuel Carreno and Herman Cornejo and Marcelo Gomes did great work like ten or twelve years ago?

Please NO.

[lmspear]

I'm sorry for my very unclear wording abatt.  What I meant to say was, "I have some vague memory of ABT loosing the right to perform Fancy Free.  Given its place in ABT's history how could this have happened??

[bingham]

I wish ABT would do Robbin’s 4 Seasons instead of Fancy Free.

[ABT Fan]

23 minutes ago, lmspear said:

I'm sorry for my very unclear wording abatt.  What I meant to say was, "I have some vague memory of ABT loosing the right to perform Fancy Free.  Given its place in ABT's history how could this have happened??

I don’t think they lost the right, as in forever. I think it’s like abatt said - it’s temporary license expired and they have not renewed it, so to speak. Also, many of us have spoken on this site about how the purse snatching scene has not aged well, and in fact makes many of us uncomfortable. I think NYCB has toned down the aggressiveness of that scene from what I’ve heard. Regardless, I still have no desire to see the ballet for a long time. ABT performed it for many years, nearly back to back. Let’s move on.

[ABT Fan]

ABT has updated the press release to include Cornejo amongst the principals dancing during the fall. Must have been a weird omission.

https://www.abt.org/2024-fall-season-announced/

[On Pointe]

On 7/18/2024 at 11:59 AM, ABT Fan said:

Thrilled about Etudes, In the Upper Room, Sinatra Suite (without Cornejo is odd, but maybe Roxander will get it). 

Part of Sinatra Suite popped up in my Youtube feed,  with Baryshnikov and Elaine Kudo,  and I found it shocking.  The That's Life  pas de deux has not aged well at all.  I find it hard to believe that ABT plans to revive it. It's a celebration of misogynistic abuse,  even in the context of the whole piece.

[volcanohunter]

That was always my reaction to "That’s Life," but perhaps because it's sandwiched between more "romantic" choreography for the pair, it's going to get a pass.

In a way, I found Forsythe's Love Songs easier to stomach, because he treated the music with greater irony. His whole point was that a breakup is nothing like a catchy song with a great beat sung by a beautiful voice.

[ABT Fan]

6 hours ago, On Pointe said:

Part of Sinatra Suite popped up in my Youtube feed,  with Baryshnikov and Elaine Kudo,  and I found it shocking.  The That's Life  pas de deux has not aged well at all.  I find it hard to believe that ABT plans to revive it. It's a celebration of misogynistic abuse,  even in the context of the whole piece.

 

5 hours ago, volcanohunter said:

That was always my reaction to "That’s Life," but perhaps because it's sandwiched between more "romantic" choreography for the pair, it's going to get a pass.

In a way, I found Forsythe's Love Songs easier to stomach, because he treated the music with greater irony. His whole point was that a breakup is nothing like a catchy song with a great beat sung by a beautiful voice.

I had those thoughts exactly about That’s Life and I agree that the video with Baryshnikov/Kudo is hard to watch at this point. However, Tharp did the entire Nine Sinatra Songs with her pick up company in October 2022 at City Center. Danny Ulbricht and Jeanette Delgado did That’s Life and it was played completely different. Delgado was not a passive limp dish rag - there was an equal push and pull. All of the partnering where Baryshnikov would throw/drag Kudo around had a different intent and energy and Delgado was strong and fierce. This had to be at the direction of Tharp and I was happy and relieved to see she must have realized the dynamic had to be changed from the original. Not only did I not see any misogynistic elements, but this dance between equals was far more interesting to watch. It was incredible actually. So, I can only assume that ABT will dance this the same way.

I’m pretty sure others here saw that performance in 2022 so maybe they can chime in with their thoughts. 

[cobweb]

Regarding Sinatra Suites, my main experience of it was at the Twyla Tharp performances at City Center in October 22. (I know I saw ABT do it years ago, but have only foggy memories of it from then.) In the Tharp performances, I was amazed at how unsentimental the entire piece was. The women came off as equally strong as the men. Even in the more romantic songs, the women weren't passive, hoping-for-a-ring types at all; rather, they were full of agency, personality, and will. This was especially the case in "That's Life," where Daniel Ulbricht and Jeanette Delgado seemed to go mano-a-mano. I'll never forget that sideways dive, when Delgado streaked across the stage and dove into Ulbricht's arms just as he finished putting his jacket on. The tone reminded me of Lorraine Bracco in Goodfellas, when Henry Hill stands her up for a date and she comes blazing in, "Who do you think you are, you got SOME NERVE." On the other hand, I wonder if ABT has a dancer who can match Delgado's astonishing ferocity, I had never seen her before (or since) and she seems a one-of-a-kind dancer. Anyway, I absolutely loved it, that whole show was unforgettable. 

Edited July 20 by cobweb

[ABT Fan]

37 minutes ago, cobweb said:

Regarding Sinatra Suites, my main experience of it was at the Twyla Tharp performances at City Center in October 22. (I know I saw ABT do it years ago, but have only foggy memories of it from then.) In the Tharp performances, I was amazed at how unsentimental the entire piece was. The women came off as equally strong as the men. Even in the more romantic songs, the women weren't passive, hoping-for-a-ring types at all; rather, they were full of agency, personality, and will. This was especially the case in "That's Life," where Daniel Ulbricht and Jeanette Delgado seemed to go mano-a-mano. I'll never forget that sideways dive, when Delgado streaked across the stage and dove into Ulbricht's arms just as he finished putting his jacket on. The tone reminded me of Lorraine Bracco in Goodfellas, when Henry Hill stands her up for a date and she comes blazing in, "Who do you think you are, you got SOME NERVE." On the other hand, I wonder if ABT has a dancer who can match Delgado's astonishing ferocity, I had never seen her before (or since) and she seems a one-of-a-kind dancer. Anyway, I absolutely loved it, that whole show was unforgettable. 

Cate Hurlin could do it, paired with Bell. She's fearless. Added: the difficult choreography and partnering may be too cumbersome with taller dancers though, but if anyone can make it work it’s Hurlin/Bell.
 

But, I imagine Cornejo will reprise his role, but I can't see Brandt or Trenary being nearly as fierce. Roxander could do it well, but again I'm lost as to who he could partner with. Hurlin is a bit too tall for him.

Edited July 20 by ABT Fan

[abatt]

3 hours ago, ABT Fan said:

Cate Hurlin could do it, paired with Bell. She's fearless. Added: the difficult choreography and partnering may be too cumbersome with taller dancers though, but if anyone can make it work it’s Hurlin/Bell.
 

But, I imagine Cornejo will reprise his role, but I can't see Brandt or Trenary being nearly as fierce. Roxander could do it well, but again I'm lost as to who he could partner with. Hurlin is a bit too tall for him.

There are only two performances of Sinatra, so Cornejo will likely do it.  I'm guessing Trenary will be his partner.  That's quite a major error to omit Cornejo's name from a press release of dancers who will appear.  Sloppy.

Edited July 20 by abatt

[Mary Mellowdew]

On 7/16/2024 at 9:00 PM, aurora said:

Having seen Cornejo several times this season, we'll have to agree to vehemently disagree. 😀

He's been in very good form, compelling dramatically and fortunately for him (and us) much less injury prone for the last 5+ years.

Is his elevation what it once was? No. But it is still very good. And his artistry and partnering have improved ov He er time. He's still high on my list of male dancers I'd like to see.

The last time I saw him as Puck in "Dream," and I used to attend only performances in which he was cast as Puck, I thought he was disappointing and that some steps/combinations had been changed to accommodate him. The last time they did Dream , which was last year or the year before, they didn't cast him at all, which was probably the right thing to do. I haven't gone out of my way to see him in anything recently, probably in part because I found him so disappointing as Puck. He used to be magnificent, really inhabited that role.

[vipa]

8 hours ago, cobweb said:

Regarding Sinatra Suites, my main experience of it was at the Twyla Tharp performances at City Center in October 22. (I know I saw ABT do it years ago, but have only foggy memories of it from then.) In the Tharp performances, I was amazed at how unsentimental the entire piece was. The women came off as equally strong as the men. Even in the more romantic songs, the women weren't passive, hoping-for-a-ring types at all; rather, they were full of agency, personality, and will. This was especially the case in "That's Life," where Daniel Ulbricht and Jeanette Delgado seemed to go mano-a-mano. I'll never forget that sideways dive, when Delgado streaked across the stage and dove into Ulbricht's arms just as he finished putting his jacket on. The tone reminded me of Lorraine Bracco in Goodfellas, when Henry Hill stands her up for a date and she comes blazing in, "Who do you think you are, you got SOME NERVE." On the other hand, I wonder if ABT has a dancer who can match Delgado's astonishing ferocity, I had never seen her before (or since) and she seems a one-of-a-kind dancer. Anyway, I absolutely loved it, that whole show was unforgettable. 

I agree with this assessment of the Ulbricht/Delgado rendition. At the same time, I see the Baryshnikov/Kudo version as being edgier and more combative while also having equal fierceness on both sides. Kudo never looks like a victim to me. It's almost hard to watch because resolution between the two seems impossible There is no warmth. Ulbricht/Delgado added an element of warmth, despite their combativeness, that is absent from  the Baryshnikov/Kudo rendition, but I don't see misogyny. That said, I don't think anyone would go so raw today.

[Quiggin]

The Baryshnikov / Kudo "That's Life" looks like a French Apache dance, which were sometimes presented on early tv. Wonder if that was the starting point for Tharp. Looks much rougher on the woman's body that the man's, and he gets to shake her but she doesn't have much of a chance of a comeback. Not a great model of romance to put out in today's world.

[volcanohunter]

On 7/21/2024 at 12:20 AM, Quiggin said:

The Baryshnikov / Kudo "That's Life" looks like a French Apache dance, which were sometimes presented on early tv. Wonder if that was the starting point for Tharp.

I would be at a loss to understand why Tharp might have chosen the apache as her inspiration. Surely by the 1980s it had disappeared from films and television. 

Though there had been this parody by Rita Moreno and the Muppets.

 

[Drew]

On 7/21/2024 at 2:20 AM, Quiggin said:

The Baryshnikov / Kudo "That's Life" looks like a French Apache dance, which were sometimes presented on early tv. Wonder if that was the starting point for Tharp. Looks much rougher on the woman's body that the man's, and he gets to shake her but she doesn't have much of a chance of a comeback. Not a great model of romance to put out in today's world.

I had never heard of the French Apache dance and went to sample a couple of videos on YouTube —one from the thirties and one undated but posted nine years ago. I didn’t last more than 30-40  seconds with either of them.

(Even if you had written that she eventually gets to give as good as she gets I would not have lasted.)

[volcanohunter]

What's worse is that audiences were expected to perceive it as "just an act," and when a character such as Ma Kettle became outraged and decided to intervene, she became an object of ridicule for being a simpleton who didn't know better.

[Quiggin]

9 hours ago, volcanohunter said:

I would be at a loss to understand why Tharp might have chosen the apache as her inspiration. Surely by the 1980s it had disappeared from films and television. 

I would sometimes see apache dance numbers and references to it on variety shows, and it seems very likely Tharp would have too. There was an "I love Lucy" episode about it, and the musical "Can-Can" with Michael Kidd's choreography was revived in the 1980s. It seemed to be a way of shopping out domestic violence by setting it in the context of another, more exotic culture –  the 1920s gangster world in France. It looks as if the Muppet episode is dealing with it at the tail end of its life span and turning it upside down.

Just came across Anna Kisselgoff's July 1984 review of "Nine Sinatra Songs" saying "That's Life" was "choreographed and timed to Apache-dance perfection."

 

Edited July 22 by Quiggin

[DPell]

I’m hoping the casting for Etudes is similar to what it was last fall. 

[Dale]

Casting announced: 

CASTING ANNOUNCED FOR AMERICAN BALLET THEATRE’S 2024 FALL SEASON AT THE DAVID H. KOCH THEATER

 

WORLD PREMIERE OF HELEN PICKETT’S CRIME AND PUNISHMENT AND WORLD PREMIERES BY GEMMA BOND AND KYLE ABRAHAM TO HIGHLIGHT THE SEASON 

 

ISAAC HERNÁNDEZ TO DEBUT AS GUEST ARTIST WITH ABT 

 

ABT FAMILY FRIENDLY MATINEE PERFORMANCES ON SUNDAY, OCTOBER 20 AND 27, 2024, AT 12:30 P.M. 

 

TICKETS ON SALE WEDNESDAY, SEPTEMBER 4 AT 12:00 P.M. 

 

NEW YORK, NY (August 28, 2024) – Casting for American Ballet Theatre’s 2024 Fall season at the David H. Koch Theater from October 16–November 3 was announced today by Artistic Director Susan Jaffe. General public on sale for the 2024 Fall season begins Wednesday, September 4 at 12:00 P.M. 

 

The season will offer four programs of works, showcasing the breadth and depth of American Ballet Theatre’s classical and contemporary repertoire, including the addition of World Premieres by Gemma Bond and Kyle Abraham and Helen Pickett's Crime and Punishment. The 2024 Fall season will additionally feature two Family Friendly Matinee performances on October 20 and 27. 

 

The first program Innovation Past and Present will celebrate World Premieres by Gemma Bond and Kyle Abraham and Harald Lander’s Études. Choreographers of the 20th and 21st Centuries will follow with George Balanchine’s Ballet Imperial, Alexei Ratmansky’s Neo, and Twyla Tharp’s In the Upper Room. Third, Signature Works is comprised of Natalia Makarova’s The Kingdom of the Shades, Tharp’s In the Upper Room, and a selection of pas de deux including an excerpt from Lynne Taylor-Corbett's Great Galloping Gottschalk, Ratmansky’s Neo, Balanchine’s Sylvia Pas de Deux, and Tharp’s Sinatra Suite. To close out the season, ABT will present the World Premiere of Helen Pickett’s Crime and Punishment.  

 

At the Family Friendly Matinee on Sunday, October 20, ABT will perform Balanchine’s Ballet Imperial and Tharp’s In the Upper Room; while on Sunday, October 27, ABT will present pas de deux from Taylor-Corbett's Great Galloping Gottschalk and Jessica Lang’s Children’s Songs Dance, as well as Balanchine’s Sylvia Pas de Deux and Lander’s Études.  

 

The Fall Gala will take place on Wednesday evening, October 23 at 6:30 P.M. at the Koch Theater. This one-night-only program will showcase ABT’s star Principal Dancers performing a selection of classic and contemporary pas de deux, as well as highlight the talented young dancers from ABT Studio Company and the ABT Jaqueline Kennedy Onassis School. Gala casting will be announced at a later date. For more information on ABT’s 2024 Fall Gala or to purchase tickets and tables, please contact Kristin Sarli, Associate Director of Special Events, at ksarli@abt.org.  

 

Innovation Past and Present  

Innovation Past and Present will run for five performances from October 16–18, at the matinee performance on October 19, and on October 24. The program will feature World Premieres by Gemma Bond and Kyle Abraham and Harald Lander’s Études. 

 

Bond's World Premiere includes music by Ottorino Respighi after Gioachino Rossini, set and costume design by Jean-Marc Puissant, and lighting design by Clifton Taylor. 

 

In an interweaving of classical and contemporary vocabularies, Abraham’s World Premiere includes costume design by Karen Young and lighting design by Dan Scully. 

 

Catherine Hurlin will lead the opening night performance of Études on Wednesday, October 16. Harald Lander’s Études is set to music by Carl Czerny and arranged by Knudåge Riisager. Created in 1948 at the Royal Opera House in Copenhagen for the Royal Danish Ballet, Études was later staged for the Paris Opera Ballet in 1952. American Ballet Theatre first presented Études at the 54th Street Theatre, New York, New York, on October 5, 1961, with the cast headed by Toni Lander, Royes Fernandez, and Bruce Marks. Études was staged for ABT by Thomas Lund. 

 

Choreographers of the 20th and 21st Centuries  

Choreographers of the 20th and 21st Centuries, ABT’s second Fall program, will be given three performances on Saturday evening, October 19; Sunday evening, October 20; and Wednesday, October 25. Choreographers of the 20th and 21st Centuries will consist of George Balanchine’s Ballet Imperial, Alexei Ratmansky’s Neo, and Twyla Tharp’s In the Upper Room. 

 

Ballet Imperial will open the second program of the Fall season at the evening performance on Saturday, October 19, led by Christine Shevchenko, Calvin Royal III, and Chloe Misseldine. Ballet Imperial, choreographed by George Balanchine, is set to Peter Ilyitch Tchaikovsky’s Concerto No. 2 in G for Piano and Orchestra with scenery and costumes by Jean-Marc Puissant and lighting by Mark Stanley. The ballet received its World Premiere by American Ballet Caravan at the Hunter College Playhouse, New York, New York, on May 27, 1941, danced by Marie-Jeanne, Gisella Caccialanza, and William Dollar. The American Ballet Theatre Company Premiere of Ballet Imperial was given on February 10, 1988, at the Auditorium Theatre, Chicago, Illinois, danced by Susan Jaffe, Ross Stretton, and Amanda McKerrow. Ballet Imperial was staged for ABT by Colleen Neary. 

 

At the evening performance on Saturday, October 19, Neo will receive its Company Premiere danced by Isabella Boylston and James Whiteside. On Friday, October 25, Catherine Hurlin and Jarod Curley will debut in these roles. Alexei Ratmansky’s Neo is set to music by Dai Fujikura with costumes by Moritz Junge and lighting by Brad Fields. The piece was originally created on ABT Principal Dancers James Whiteside and Isabella Boylston for a digital performance presented by The Joyce Theater, New York, New York, on May 19, 2021. 

 

In the Upper Room is a ballet in nine parts, choreographed by Twyla Tharp and set to music by Philip Glass with costumes by Norma Kamali and lighting by Jennifer Tipton. In the Upper Room was given its World Premiere by Twyla Tharp Dance on August 28, 1986, at the Ravinia Festival in Highland Park, Illinois, and received its American Ballet Theatre Premiere on December 10, 1988, at the Orange County Performing Arts Center in Costa Mesa, California. The ballet is staged for ABT by Shelley Washington and Blaine Hoven. 

 

Signature Works  

The third program, titled Signature Works, will include Natalia Makarova’s The Kingdom of the Shades, Tharp’s In the Upper Room, and a selection of pas de deux including an excerpt from Lynne Taylor-Corbett's Great Galloping Gottschalk, Ratmansky’s Neo, Balanchine’s Sylvia Pas de Deux, and Tharp’s Sinatra Suite. Signature Works will be given two performances on Saturday, October 26 and one performance on the evening of Sunday, October 27. 

 

Hee Seo will dance The Kingdom of the Shades at the matinee performance on Saturday, October 26 alongside ABT Guest Artist Isaac Hernandez. Christine Shevchenko will make her debut in the ballet at the evening performance on Saturday, October 26. Choreographed by Natalia Makarova after Marius Petipa, The Kingdom of the Shades is set to music by Ludwig Minkus, specially arranged by John Lanchbery, and features scenery by PierLuigi Samartitani, costumes by Theoni V. Aldredge and lighting by Toshiro Ogawa. The Kingdom of the Shades was first performed in the West by the Leningrad-Kirov Ballet in 1961. Makarova first staged The Kingdom of the Shades for American Ballet Theatre in 1974, and it received its Company Premiere at the State Theater in New York, New York, on July 3 of that year, danced by Cynthia Gregory as Nikiya and Ivan Nagy as Solor. 

 

SunMi Park and Calvin Royal III will perform the pas de deux from Lynne Taylor-Corbett's Great Galloping Gottschalk at the matinee performance on Saturday, October 26. Cassandra Trenary and Herman Cornejo will debut in this pas de deux at the matinee performance on Sunday, October 27. Great Galloping Gottschalk was given its World Premiere on January 12, 1982, at Miami Beach Theater of the Performing Arts in Miami Beach, Florida. The excerpted pas de deux is set to music by Louis Moreau Gottschalk with costume design by Gretchen Warren and lighting design by Brad Fields based on the original lighting design by Edward M. Greenberg. 

 

At the matinee performance on Saturday, October 26, Chloe Missledine and Aran Bell will make their debuts in Sylvia Pas de Deux. Gillian Murphy and Daniel Camargo will make their debuts at the evening performance that same day. Sylvia Pas de Deux features choreography by George Balanchine, music by Léo Delibes, lighting by Nananne Porcher, and staging by Marina Eglevsky. This production features costumes by Santo Loquasto. Sylvia Pas de Deux received its world premiere by New York City Ballet at City Center 55 Street Theater, New York, New York, on December 1, 1950. It received its Company Premiere on August 20, 1964, at Teatro Municipal in Rio de Janeiro, Brazil, with Sonia Arova and Royes Fernandez. 

 

Cassandra Trenary will make her debut in Sinatra Suite alongside Herman Cornejo at the evening performance on Saturday, October 26. With choreography by Twyla Tharp, Sinatra Suite features music by Frank Sinatra, costume design by Oscar de la Renta, and lighting design by Jennifer Tipton. Nine Sinatra Songs, from which Sinatra Suite is excerpted, was given its world premiere by Twyla Tharp Dance on October 14, 1982, at the Queen Elizabeth Theatre in Vancouver, British Columbia, Canada. Sinatra Suite was given its American Ballet Theatre Premiere on December 6, 1983, at the Kennedy Center for the Performing Arts in Washington, D.C., featuring Elaine Kudo and Mikhail Baryshnikov. 

 

Crime and Punishment 

The final six performances of ABT’s 2024 Fall season will celebrate the World Premiere of Helen Pickett’s Crime and Punishment with performances from Wednesday, October 30 to Sunday, November 3. 

 

The World Premiere of Crime and Punishment on Wednesday, October 30 will be led by Cassandra Trenary as Raskolnikov. Herman Cornejo will debut as Raskolnikov on Thursday, October 31, while Breanne Granlund will make her debut on Friday, November 1. With choreography, co-direction, and treatment by Helen Pickett and direction and treatment by James Bonas, Crime and Punishment features music by Isobel Waller-Bridge, set and costume design by Soutra Gilmour, lighting design by Jennifer Tipton, and video design by Tal Yarden. 

 

Family Friendly Matinees  

American Ballet Theatre will offer two Family Friendly Matinee programs at the matinees on Sunday, October 20 and Sunday, October 27 at 12:30 P.M. At the matinee performance on Sunday, October 20, ABT will perform George Balanchine’s Ballet Imperial and Twyla Tharp’s In the Upper Room. At the matinee performance on Sunday, October 27, ABT will perform pas de deux from Lynne Taylor-Corbett's Great Galloping Gottschalk and Jessica Lang’s Children’s Songs Dances, Balanchine’s Sylvia Pas de Deux, and Harald Lander’s Études. 

 

Lang’s Children’s Songs Dance is set to selections from Children’s Songs by the late American jazz composer Chick Corea. The ballet was created on ABT Studio Company in January 2020 and received its ABT Company Premiere on August 9, 2022, as part of Lincoln Center’s BAAND Together Dance Festival.Children’s Songs Dance features costume design by Jillian Lewis and lighting by Nicole Pearce. 

 

Tickets for American Ballet Theatre’s 2024 Fall season at the David H. Koch will go on sale beginning Wednesday, September 4 at 12:00 P.M. Tickets begin at $30 and are available online, in person at the Koch Theater box office, or by phone at 212-496-0600. For more information, visit ABT’s website at www.abt.org. 

 

Complete casting follows. 

 

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®. 

 

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. 

 

In addition, the Fall Season’s three World Premieres are made possible in part with support from the Rockefeller Brothers 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.