Is it Gal-la?
Is it Gay-la?
Is it Gaw-la?
What's the difference?!
Does it matter what ya caw-ll it?
So might Mel Brooks sing in a funny musical about opening nights filled with polished, fabulous, entertaining dancing. There was a point in tonight's ABT Fall Gala program when Haglund wished that Mel had been there and that he and Muffie what's-her-name and some of the other society folk who were over-dressed but wearing less than they should have been, would have jumped on stage and started dancing. At least it would have been good for a laugh. Or Nina Ananiashvili, looking lovely seated in the Orchestra, could have jumped on stage with Robert La Fosse or Robert Fairchild, both of whom looked handsome in the Orchestra, for an impromptu Pas de Trois. Or Mr. Franklin could have pulled up a chair on the stage and told some funny stories about really dancing in the real Gardens of Villandry.
Tonight's program just made Haglund weep. If it hadn't been for the Stompers from In the Upper Room and Frank & Ava gloriously swirling through "My Way", it would have been a night to forget before it destroyed anyone's sleep.
After the customary speeches, the program opened with The Garden of Villandry by Martha Clarke, Robby Barnett and Felix Blaska to music of Franz Schubert played live on stage by a pianist, violinist, and cellist. Two men and a woman walk-dance through the gardens and we're supposed to guess which of the guys is really the third wheel in the relationship as they politely pull away at the woman who clearly admires and has good use for both of them. Julie Kent, Roman Zhurbin, and Julio Bragado-Young did everything they could with what they were given. This is a novelty piece to see once, smile about what's beneath the quaintness, and then cross it off your list forever.
Next came Tharp's Sinatra Suite danced by Luciana Paris and Herman Cornejo. Their shoes were slick on the floor, and there were a couple of bad slips, but the performance was more than okay. Luciana glams up like Ava Gardner. Herman has plenty of suave, but a little too much respectability. Together they made it all work nicely – very romantic with just a tinge of antagonism.
Demis Volpi's new Private Light took us to the intermission. During the second presentation of last month's Guggenheim's Work & Process program which previewed the ABT Fall Season, Demis Volpi rehearsed Cory Stearns and Simone Messmer in a section from his new work. In one difficult PdD movement, Volpi instructed Messmer to "just relax and let yourself be manhandled." She was compliant and the end result satisfied Volpi. In the New York Times recent preview piece, Volpi is described as rehearsing two dancers in a kiss by telling the man “You’re a rough guy giving a really rough kiss,” he explained. “She’s a thing. She’s not a person you have to take care of." Those two instances pretty much sum up the tenor of his new piece. It's manipulative with men aggressively handling women – sometimes lifting them by their heads and putting them into their proper places.
There is almost no dancing per se in Private Light but for bourees and some solo center barre work (tendu, coupe developpe, etc.) for Joseph Gorak who apparently stepped outside of the sect's activity to act independently. The other dancers then approached him with scorn and snatched him back into place within the sect. Let's see, what else. There's a lot of angst – over what, we don't know. But when you're in your twenties, there's angst in everything, even in a loaf of bread. Let's see, what else. Oh yeah, couples do a lot of kissing to a mish-mash of solo guitar music performed by, ahem, Christian Kiss. Two women do some kissing – most likely inserted to pander to Alastair Macaulay. The men slam themselves to the ground a lot. They are shirtless and dressed in little shorts. The women wear similar shorts with flesh-colored leotard tops which are probably supposed to suggest that the women might be shirtless. Would anyone be surprised if Volpi lobbied for a little topless costume for the ladies? Imagine how famous it would make you as a choreographer if you could be the first one to get ABT to embrace nudity on stage. Perhaps another time, Demis.
After the intermission, we welcomed back Tharp's In the Upper Room, 25 years young. The problem tonight was some miscasting and missing cast. You can't omit Gomes, Cornejo, Hallberg, and a few other veterans and not have it hurt. The stompers saved the day. Sascha Radetsky led this piece the way Stiefel used to – keeping everybody's energy high, making sure nobody let up. He was phenomenal tonight. The guy is so ripped that when he pirouetted, your own eyes would go a little cuck-coo trying to follow the image of his spinning torso muscles. Blaine Hoven and Patrick Ogle kept up the pace well and really danced fabulously. The lady stompers – Kristie Boone, Gillian Murphy, Misty Copeland, and Luciana Voltolini – embraced the cardio-dance like they were in heaven dancing it.
The bombers were where all the problems were tonight. Most notably, Isabella Boylston, while looking lovely, was also in her own world musically, messing up not only Maria Riccetto but also Luciana Voltolini (she both stomped & bombed) and the group pointe work by dancing ahead of the others or holding a renverse or arabesque just a little bit longer which made the other dancers look bad. If this were an isolated instance, it wouldn't be worth mentioning. But Isabella has badly marred ensemble work in Bright Stream, as one of Giselle's peasant friends, in Thirteen Diversions, and now In the Upper Room – just to name a few instances in the past year. Her penalty: McKenzie awards her with four principal debuts in the Spring Season including two lead principal roles while the long-time, ultra-talented soloists who rarely miss a step and are consummate team players are made to stand down. Why should Isabella even care about the quality of her ensemble work? Also miscast tonight was Gennadi Saveliev. He is not a Tharp dancer in any way, shape or form, and much of the time it looked like he was marking his way through the steps. Arron Scott and Craig Salstein danced very well, and either of them would have been a better choice for Paloma Herrera's partner in the central PdD than Saveliev.
This fall season is not selling well for ABT. It's not the economy. If people have money to go to the opera and to the philharmonic and to Carnegie Hall, they have money to spend on dance. They just don't want to see these kind of poorly designed programs out of ABT. Everyone expects better. No pump bump award for this evening.
34 responses to “ABT – Opening Night Gala 11/8”
WOW, that bad?
Sascha and Stella should have been promoted LONG TIME AGO! It’s good that Stelle got to dance the Sleeping Beauty in NZ. I’m really not impressed with all the (Russian) guest principles while the homegrown American dancers who are just as good don’t get to be where they should be.
WOW, that bad?
Sascha and Stella should have been promoted LONG TIME AGO! It’s good that Stelle got to dance the Sleeping Beauty in NZ. I’m really not impressed with all the (Russian) guest principles while the homegrown American dancers who are just as good don’t get to be where they should be.
wow- that was harsh! i didn’t see last night but saw them at bard & i really liked the volpi piece- only i felt the first 5 minutes or so were the best part & then it lost steam a bit.
anyway, watching sascha’s upper room from front row center with no orchestra pit in between was an experience i’ll never forget- he was absolutely riveting. i couldn’t take my eyes off him- the other guys were great but he was SO much better, this wild, sensual, animal being— i had to scrape my jaw off the floor. (and yeah, he’s ripped. my god)
wow- that was harsh! i didn’t see last night but saw them at bard & i really liked the volpi piece- only i felt the first 5 minutes or so were the best part & then it lost steam a bit.
anyway, watching sascha’s upper room from front row center with no orchestra pit in between was an experience i’ll never forget- he was absolutely riveting. i couldn’t take my eyes off him- the other guys were great but he was SO much better, this wild, sensual, animal being— i had to scrape my jaw off the floor. (and yeah, he’s ripped. my god)
you should not be able to talk like that, and it shows that you really dont know anything about ballet. isabella Boylston was absolutely fabulous last night ! if her legs go higher up, it’s certainly not her fault ! Basically, you are reproaching her to dance better than anyone else, and reproaching her that you could not help but notice. this is unbelievable
you should not be able to talk like that, and it shows that you really dont know anything about ballet. isabella Boylston was absolutely fabulous last night ! if her legs go higher up, it’s certainly not her fault ! Basically, you are reproaching her to dance better than anyone else, and reproaching her that you could not help but notice. this is unbelievable
Not so, Ju. If Isabella’s leg goes up higher than those with the others in her ensemble or if she holds a move longer, or employs different timing when unison is called for, it is indeed a fault. Having watched In the Upper Room for 25 years with many casts, I know what the bombers are supposed to look like and the importance of unison in their movement. Last night was a disappointment.
Not so, Ju. If Isabella’s leg goes up higher than those with the others in her ensemble or if she holds a move longer, or employs different timing when unison is called for, it is indeed a fault. Having watched In the Upper Room for 25 years with many casts, I know what the bombers are supposed to look like and the importance of unison in their movement. Last night was a disappointment.
I have never enjoyed watching Isabella Boylston. Her lack of refinement was egregiously evident when she danced alongside Julie Kent in last spring’s Bright Stream.
I have never enjoyed watching Isabella Boylston. Her lack of refinement was egregiously evident when she danced alongside Julie Kent in last spring’s Bright Stream.
I have mixed feelings about Macauley’s review of the opening night gala. On the one hand, it’s nice to hear something positive about ABT from him. On the other hand, I tend to think that you, Haglund, have got it more right.
I have mixed feelings about Macauley’s review of the opening night gala. On the one hand, it’s nice to hear something positive about ABT from him. On the other hand, I tend to think that you, Haglund, have got it more right.
Hi Angelica. Macaulay is treading lightly and laying low, as we are approaching the anniversary of one of his worst transgressions. He doesn’t want anyone to be reminded of it.
Hi Angelica. Macaulay is treading lightly and laying low, as we are approaching the anniversary of one of his worst transgressions. He doesn’t want anyone to be reminded of it.
Hi Haglund, I actually think I know what you mean! Does it have to do with a certain dancer at NYCB? The reason I ask is that there have been, IMHO, so many transgressions, and I haven’t kept a record. But this one comes immediately to mind.
Hi Haglund, I actually think I know what you mean! Does it have to do with a certain dancer at NYCB? The reason I ask is that there have been, IMHO, so many transgressions, and I haven’t kept a record. But this one comes immediately to mind.
You guessed it!
Also, Macaulay wants to encourage ABT to do more of this type of programing because it’s easier for him to mask his lack of dance technique knowledge in his writing. There are literally millions of people in this country who know more about ballet technique than Macaulay which presents a problem for him in every ballet review. But when it comes to modern dance, he can fudge and pontificate and exasperate ’till the cows come home without incurring criticism because of the lack of standardization in modern dance. In short, he’s more secure writing about modern dance because it’s easier to fake it.
Read his review of Wed night’s performance. He actually complimented Veronika Part and delivered a backhanded compliment to Stella Abrera (who by the way is one of ABT’s absolute masters of modern choreography) – two world class dancers who he tends to trash or ignore. Of course, Stella’s a stunning classical dancer as well. It would be thrilling to see her in Ratmansky’s Nutcracker (as Clara) in the event an opening occurred because of someone’s unfortunate injury. I noted that Hee Seo has again been replaced in all of her performances this week.
You guessed it!
Also, Macaulay wants to encourage ABT to do more of this type of programing because it’s easier for him to mask his lack of dance technique knowledge in his writing. There are literally millions of people in this country who know more about ballet technique than Macaulay which presents a problem for him in every ballet review. But when it comes to modern dance, he can fudge and pontificate and exasperate ’till the cows come home without incurring criticism because of the lack of standardization in modern dance. In short, he’s more secure writing about modern dance because it’s easier to fake it.
Read his review of Wed night’s performance. He actually complimented Veronika Part and delivered a backhanded compliment to Stella Abrera (who by the way is one of ABT’s absolute masters of modern choreography) – two world class dancers who he tends to trash or ignore. Of course, Stella’s a stunning classical dancer as well. It would be thrilling to see her in Ratmansky’s Nutcracker (as Clara) in the event an opening occurred because of someone’s unfortunate injury. I noted that Hee Seo has again been replaced in all of her performances this week.
Hi Haglund, I don’t know what I’d do without you. I might still be posting on that censoring web forum.
Why can’t I find Macaulay’s review of Wed night’s performance? Is it only online? Have you got a link? I want to read him say something–anything– complimenting Veronika Part, whom I absolutely adore. Should I be satisfied with a backhanded compliment to Stella Abrera?
I read somewhere that there’s a 100% chance that a professional dancer will be sidelined by an injury at least once in his/her career. It’s sad when injuries begin to plague a dancer and hold back a career. If I prayed, I’d pray for Stella every night.
Hi Haglund, I don’t know what I’d do without you. I might still be posting on that censoring web forum.
Why can’t I find Macaulay’s review of Wed night’s performance? Is it only online? Have you got a link? I want to read him say something–anything– complimenting Veronika Part, whom I absolutely adore. Should I be satisfied with a backhanded compliment to Stella Abrera?
I read somewhere that there’s a 100% chance that a professional dancer will be sidelined by an injury at least once in his/her career. It’s sad when injuries begin to plague a dancer and hold back a career. If I prayed, I’d pray for Stella every night.
Oh–and of course you’re absolutely right about Macaulay’s ignorance. Was he ever a dancer himself? If not, I don’t think he should be the Times’s dance critic–or any dance critic, for that matter!
Oh–and of course you’re absolutely right about Macaulay’s ignorance. Was he ever a dancer himself? If not, I don’t think he should be the Times’s dance critic–or any dance critic, for that matter!
Angelica, the review of Wed’s performance is on line here:
http://www.nytimes.com/2011/11/11/arts/dance/american-ballet-theater-at-city-center-review.html
And to answer your question, no, Macaulay has never stood at the barre.
Angelica, the review of Wed’s performance is on line here:
http://www.nytimes.com/2011/11/11/arts/dance/american-ballet-theater-at-city-center-review.html
And to answer your question, no, Macaulay has never stood at the barre.
Thank you, Haglund. I wonder whether this review will appear in my edition of the Times tomorrow. Today’s edition printed the review of opening night. I read this second review twice, and admittedly it’s late and I’ve had a long day, but I declare that I couldn’t understand a word he said in terms of picturing what went on during the performance. This guy drives me insane. How did he ever get this job anyway? What are his so-called qualifications? End of rant.
Maybe you will replace him some day.
Thank you, Haglund. I wonder whether this review will appear in my edition of the Times tomorrow. Today’s edition printed the review of opening night. I read this second review twice, and admittedly it’s late and I’ve had a long day, but I declare that I couldn’t understand a word he said in terms of picturing what went on during the performance. This guy drives me insane. How did he ever get this job anyway? What are his so-called qualifications? End of rant.
Maybe you will replace him some day.
Yes, the review appeared in today’s paper up here in the back woods of Westchester. Thinking it over, it strikes me that Macaulay’s description of Veronika Part’s “handsomely statuesque qualities” is also a backhanded compliment (or some such) because it says nothing about her dancing. However, as you point out, he clearly has no basis on which to form opinions about classical ballet or classical ballerinas. Okay, this will be my last post on this thread, I promise.
Yes, the review appeared in today’s paper up here in the back woods of Westchester. Thinking it over, it strikes me that Macaulay’s description of Veronika Part’s “handsomely statuesque qualities” is also a backhanded compliment (or some such) because it says nothing about her dancing. However, as you point out, he clearly has no basis on which to form opinions about classical ballet or classical ballerinas. Okay, this will be my last post on this thread, I promise.
Hey, Haglund, just a quick question. You’ve been going on and on about Macaulay (comments which I totally agree with), and it’s been mentioned that he has no qualifications to be a dance critic. So, what are your qualifications?
Yes, I do agree that Macaulay’s review of ABT’s opening night was unneccesarily harsh. And I don’t think that the comment about Veronika Part was complimentary–“statuesque” could not only mean dignified, but also has an underlying tone of “big and solid.” Well, at least that’s how I see it.
Hey, Haglund, just a quick question. You’ve been going on and on about Macaulay (comments which I totally agree with), and it’s been mentioned that he has no qualifications to be a dance critic. So, what are your qualifications?
Yes, I do agree that Macaulay’s review of ABT’s opening night was unneccesarily harsh. And I don’t think that the comment about Veronika Part was complimentary–“statuesque” could not only mean dignified, but also has an underlying tone of “big and solid.” Well, at least that’s how I see it.
40+ years at the barre and regional company performing. Also Julie, I’m not a paid critic in a publication that has a readership of a million. This is a blog. You couldn’t pay to read it if you wanted to.
I took Macaulay’s comment about VP as complimentary. I was at the performance. “Statuesque” is probably a better description than my first thought when she came out in her bright blue unitard and stood in front of Vitali who was in a bright red unitard, which was “OMG – she’s a goddess.”
40+ years at the barre and regional company performing. Also Julie, I’m not a paid critic in a publication that has a readership of a million. This is a blog. You couldn’t pay to read it if you wanted to.
I took Macaulay’s comment about VP as complimentary. I was at the performance. “Statuesque” is probably a better description than my first thought when she came out in her bright blue unitard and stood in front of Vitali who was in a bright red unitard, which was “OMG – she’s a goddess.”
Haglund, I hope you didn’t read my question as rude–It’s just you cloud yourself in mystery.
Haglund, I hope you didn’t read my question as rude–It’s just you cloud yourself in mystery.