We’re just now catching up with ABT. Due to programing and casting, we didn’t sign up for much of the first half of the Met season. However, we did hit the first and final evenings of the Tharp Trio program and found much to cheer about along with the same-old-same-old annoyance or pathetic half-effort by the same-old-same-olds. But this Tharp program was a hit, and all of those young’uns and rarely used dancers (who mistakenly think we don’t notice them holding their swords and fans in the back rows of the big classics) really fired up the ole pistons in a few of Twyla’s prized antique classics.
Twyla Tharp spent years trying to prove her ballet-worthiness after making her disdain for it clear to one and all. She built her ballet credibility from the ground up like a chemistry student investigating every element on the periodic table for properties and behavior – from Actinium to Zirconium, or from Ailes de pigeon to Voyage as in her 1973 Deuce Coupe which she made for the Joffrey Ballet and her own small company of modern dancers. She might have had disdain for classical ballet and its rigid stuffiness, but she was smart enough to seek out and study with the best independent ballet teacher in New York at the time, Richard Thomas, to make sure that her fundamental knowledge about ballet was as strong as that of any priss-ass ballerina tip-toeing around the stage.
Tharp created her Deuce Coupe to 14 songs by the Beach Boys that were released from 1963 (Little Deuce Coupe) through 1972 (Cuddle Up). During the 60s and early 70s, the Beach Boys led a musical revolution which saw the fusion of rock 'n roll with folk music. It was all happening in Laurel Canyon in Hollywood Hills where the Byrds, Tom Petty, the Mamas and the Papas, and Buffalo Springfield were inspired by what the Beach Boys were creating and echoed their mix of acoustic with electric along with their use of complex harmonies in pop music. [Pause: Echo in the Canyon is now playing at Landmark Cinema Theatre on W. 57th Street and around the country. It is a documentary about the West Coast music scene during the 1960s and the revolutionary fusion of rock and folk as led by Brian Wilson of the Beach Boys.)
Like the Beach Boys’ fusion of incongruent musical genres, Tharp created her own fusion of classical ballet and social dance that would roar through mainstream ballet and be echoed by choreographers across the world. In Deuce Coupe, she employed a single ballerina in white — Monday evening, Katherine Williams — who devoted herself to academic exercises. Her devotion was not unshakable, however, and she occasionally offered a little shimmy in the shoulders with a sly smile to make us think that under her disciplined demeanor there might lie some contemporary impertinence. As the ballerina in white devoted herself to her exercises, others performed variations on social dances while a few more mixed their styles and continually changed lanes amid the heavy traffic.
Katherine Williams on Monday and Christine Shevchenko on opening night had the unwavering nerves and steady technique for the ballerina role. Stella Abrera, Catherine Hurlin, Luciana Paris, Cassandra Trenary, Patrick Frenette, and Javier Rivet – all natural Tharpentars – were a joy to watch as they reeled, rocked, and releved through the motorized Papa Ooh Mau Mau, the prehistoric pounding of Alley Oop, the galloping of Long Tall Texan, and the poignant beauty of Dennis Wilson’s lyrics and harmonies in Cuddle Up.
The Brahms-Haydn Variations, tidy and somewhat small this time around, nevertheless offered outstanding performances from Blaine Hoven who partnered Stephanie Williams on opening night and Hee Seo on closing night, and Skylar Brandt with Arron Scott. It’s one of those busy as Grand Central Station ballets where one can look anywhere on the stage at any given time and see a pair engaged in something interesting or at least something odd. Misty Copeland, featured in both performances, didn’t exactly blow by our expectations. ABT keeps casting her in roles that she never grew into and is now rapidly shrinking from except for her glorious bowing at the end which grows bigger as her technique withers. On opening night, her little variation started with a single pirouette with her weight falling back to her back foot. After a pause she managed about five fouette turns before simply stopping and posing for the rest of the music. On closing night, she offered the same single pirouette that fell backward and then she completely bailed on the fouettes. Instead, she did about five unimpressive, slowish single pirouettes and then posed for the rest of the music. She was applauded loudly by a few of her fans who perhaps thought the turns were just preparation for that all-important pose at the end.
The biggest joy of these performances came from the exhilaration created by the main Stompers – Devon Teuscher, Skylar Brandt, and Cassandra Trenary on opening night and Stephanie Williams, Wanyue Qiao, and Catherine Hurlin on closing night – who rocked the Philip Glass minimalist tunes of In the Upper Room. Stephanie and Wanyue are quintessential Tharp dancers who “get” her downtown attitude and cheekiness. Stephanie, in particular, showed a stamina that put the big boys to shame and then looked at the end like she was ready to go another round. Stephanie also was lovely whirling like a maple seed pod through The Brahms-Haydn Variations with Blaine as her partner.
In fact, we’re throwing the H.H. Pump Bump Award, a high-heeled sneaker from Adidas which looks best when worn with a Grateful Dead sockette available at Stance in Hudson Yards, to Stephanie and Blaine for their awesomesauce dancing in the Tharp Trio program.
48 responses to “Met Opera House 5/30 & 6/3
Twyla tachs it up for ABT”
I would have bestowed the award (a gold-toed pointe shoe) on Christine Shevchenko for her extraordinary performance as the ballerina in “Deuce Coupe.” It was sheer perfection.
I would have bestowed the award (a gold-toed pointe shoe) on Christine Shevchenko for her extraordinary performance as the ballerina in “Deuce Coupe.” It was sheer perfection.
She was excellent!
She was excellent!
Any plans to subject yourself to Jane Eyre, Haglund?
Any plans to subject yourself to Jane Eyre, Haglund?
Nope. The cast coupling was a turn-off from the beginning.
Nope. The cast coupling was a turn-off from the beginning.
Terrible casting for Jane Eyre. The “ballet” itself does not look palatable and hasn’t exactly gotten glowing reviews. I would have rather seen Ashton or DeMille — where have they been!?
Terrible casting for Jane Eyre. The “ballet” itself does not look palatable and hasn’t exactly gotten glowing reviews. I would have rather seen Ashton or DeMille — where have they been!?
And speaking of Celebrina, she was not in one Ratmansky work this season so far (including The Seasons)and is not cast for any upcoming. I can only assume his choreography is too difficult for her now and either she took herself out voluntarily or Ratmansky requested she be pulled. Seems like a big deal, no? Ratmansky IS American Ballet Theatre at this point. I wonder if age/diminishing technique and strength are pointing her swiftly toward retirement. I imagine she has eyes on Hollywood post-ABT.
And speaking of Celebrina, she was not in one Ratmansky work this season so far (including The Seasons)and is not cast for any upcoming. I can only assume his choreography is too difficult for her now and either she took herself out voluntarily or Ratmansky requested she be pulled. Seems like a big deal, no? Ratmansky IS American Ballet Theatre at this point. I wonder if age/diminishing technique and strength are pointing her swiftly toward retirement. I imagine she has eyes on Hollywood post-ABT.
The NYT reports that Jane Eyre substituted for another full length ballet that had to be pulled. Any info?
I won’t get up to NY to see Jane Eyre but I am interested. Boston Ballet is doing it next season as well.
The NYT reports that Jane Eyre substituted for another full length ballet that had to be pulled. Any info?
I won’t get up to NY to see Jane Eyre but I am interested. Boston Ballet is doing it next season as well.
Here’s what the NYT writer wrote which, given the source, may or may not be accurate: “Then a crisis loomed. A full-evening program planned for this year’s Met season fell through.” A full-evening program could have been a program of Balanchine works or possibly a full length ballet. In either case, it would be interesting to know WHY it fell through AFTER it was apparently planned. Was it someone’s objection to McKenzie’s casting? It would be quite understandable if someone from the Balanchine Trust objected to the inevitable insertion of Copeland and Boylston into leads, given what they’ve done in the past. Just HOW does a planned full-length evening program fall through for ABT?
Here’s what the NYT writer wrote which, given the source, may or may not be accurate: “Then a crisis loomed. A full-evening program planned for this year’s Met season fell through.” A full-evening program could have been a program of Balanchine works or possibly a full length ballet. In either case, it would be interesting to know WHY it fell through AFTER it was apparently planned. Was it someone’s objection to McKenzie’s casting? It would be quite understandable if someone from the Balanchine Trust objected to the inevitable insertion of Copeland and Boylston into leads, given what they’ve done in the past. Just HOW does a planned full-length evening program fall through for ABT?
I haven’t been to as many performances of ABT this year because the casting is mainly horrible. ABT is sadly deluded into thinking that their star trio is Copeland, Boylston and Seo.
Sadly, Cornejo is injured and he has pulled out of some of his performances. I had a Saturday ticket to Le Corsaire. Now I’ll have to grit my teeth and watch Whiteside.
He hasn’t cancelled Manon yet, so I’m hoping he can recover.
I haven’t been to as many performances of ABT this year because the casting is mainly horrible. ABT is sadly deluded into thinking that their star trio is Copeland, Boylston and Seo.
Sadly, Cornejo is injured and he has pulled out of some of his performances. I had a Saturday ticket to Le Corsaire. Now I’ll have to grit my teeth and watch Whiteside.
He hasn’t cancelled Manon yet, so I’m hoping he can recover.
The exciting thing about Jane Eyre is not its choreography but how it showcases some of the dancers’ tremendous dramatic dancing, most notably Teuscher and Forster (different performances) as well as Trenary and Stephanie Williams. The Ratkmansky and Tharp programs plus this piece have allowed many non-principal dancers to demonstrate wonderful qualities not always seen in the traditional classical full-lengths. I would recommend seeing either the Teuscher or Boylston casts this week.
The exciting thing about Jane Eyre is not its choreography but how it showcases some of the dancers’ tremendous dramatic dancing, most notably Teuscher and Forster (different performances) as well as Trenary and Stephanie Williams. The Ratkmansky and Tharp programs plus this piece have allowed many non-principal dancers to demonstrate wonderful qualities not always seen in the traditional classical full-lengths. I would recommend seeing either the Teuscher or Boylston casts this week.
I don’t plan to see it because of the cast pairs. That said, even if the pairs were different, I’d have to say that I’ve seen enough Angst & Yank of contemporary ballet to last me three lifetimes. Cathy Marston is not Kenneth MacMillan any more than William Forsythe is Balanchine or Justin Peck is Jerome Robbins.
I don’t plan to see it because of the cast pairs. That said, even if the pairs were different, I’d have to say that I’ve seen enough Angst & Yank of contemporary ballet to last me three lifetimes. Cathy Marston is not Kenneth MacMillan any more than William Forsythe is Balanchine or Justin Peck is Jerome Robbins.
I’m so looking forward to Sarah Lane’s debut as Manon opposite Herman – I do hope he recovers.
I’m so looking forward to Sarah Lane’s debut as Manon opposite Herman – I do hope he recovers.
The only performance I plan to see at ABT this year is Aran Bell in Swan Lake. He seems like a sweet, humble dancer so I decided to buy a ticket solely to see him dance. I wish Gisele Bethea had stayed at ABT, she would have been a great partner with Aran. But I am happy for her that she escaped from McKenzie’s horribleness.
The only performance I plan to see at ABT this year is Aran Bell in Swan Lake. He seems like a sweet, humble dancer so I decided to buy a ticket solely to see him dance. I wish Gisele Bethea had stayed at ABT, she would have been a great partner with Aran. But I am happy for her that she escaped from McKenzie’s horribleness.
I’m so unenthusiastic about this ABT season. I’m gonna see a couple of performances of Manon, and a couple of performances of Sleeping beauty. That’s about it. I couldn’t make it to any of the Tharp or Ratmansky programs, either. Oh well.
Praying Herman will be able to dance Des Grieux.
I’m so unenthusiastic about this ABT season. I’m gonna see a couple of performances of Manon, and a couple of performances of Sleeping beauty. That’s about it. I couldn’t make it to any of the Tharp or Ratmansky programs, either. Oh well.
Praying Herman will be able to dance Des Grieux.
This week, I received a survey from ABT via email after seeing Jane Eyre. I’ve been seeing ABT for years and don’t ever remember having received one before. Questions included what questions would you ask the dancers and/or creator and how would you describe ABT to someone who’s never heard of it. I’m so interested to know what prompted it.
This week, I received a survey from ABT via email after seeing Jane Eyre. I’ve been seeing ABT for years and don’t ever remember having received one before. Questions included what questions would you ask the dancers and/or creator and how would you describe ABT to someone who’s never heard of it. I’m so interested to know what prompted it.
Be careful how you answer that survey, because you might find yourself quoted in a marketing piece. It sounds like ABT is trying to find positive quotes to use which offset the negative opinions of the public and press.
Be careful how you answer that survey, because you might find yourself quoted in a marketing piece. It sounds like ABT is trying to find positive quotes to use which offset the negative opinions of the public and press.
I wouldn’t be surprised if we read about Copeland’s departure before years end. Maybe after the fall season at the Koch? To be out of all Ratmansky ballets this season…and he is the main artistic decision-maker at ABT. Not a positive sign.
I wouldn’t be surprised if we read about Copeland’s departure before years end. Maybe after the fall season at the Koch? To be out of all Ratmansky ballets this season…and he is the main artistic decision-maker at ABT. Not a positive sign.
I must say I’m shocked to see Copeland didn’t get a single Princess Florine. Not that I’m disappointed. Also, I’m happy two of the new soloists, plus Brandt, are getting a chance at that role. I’m hoping to see some promising debuts as fairies this year.
I must say I’m shocked to see Copeland didn’t get a single Princess Florine. Not that I’m disappointed. Also, I’m happy two of the new soloists, plus Brandt, are getting a chance at that role. I’m hoping to see some promising debuts as fairies this year.
And, as ever, Sun Woo Hong debuting as “Romeo” opposite Cate Hurlin’s Florine ;). I wish Beauty wasn’t been done over July 4th week/end.
And, as ever, Sun Woo Hong debuting as “Romeo” opposite Cate Hurlin’s Florine ;). I wish Beauty wasn’t been done over July 4th week/end.
LOL! We can’t blame that one on the Met:
https://www.abt.org/event_dates/sleeping-beauty-7-6-19-800pm/
LOL! We can’t blame that one on the Met:
https://www.abt.org/event_dates/sleeping-beauty-7-6-19-800pm/
ABT needs to get their act together. Although I bought tickets to at least eight different performances last year, they never even bothered to send me a brochure for this season. Contrast that to the Met and Carnegie Hall, who sent me lavish brochures several times about the upcoming season.
ABT needs to get their act together. Although I bought tickets to at least eight different performances last year, they never even bothered to send me a brochure for this season. Contrast that to the Met and Carnegie Hall, who sent me lavish brochures several times about the upcoming season.
Tharp & ballet–I wish PBS would film her 2012 family ballet “The Princess and the Goblin” which was co-commissioned by Atlanta and Royal Winnepeg. Music: F. Schubert; Book: George MacDonald
Looks charming from G-images. This is a good way to build ballet audiences for the future as well as now. (Plus touring companies.)
Tharp & ballet–I wish PBS would film her 2012 family ballet “The Princess and the Goblin” which was co-commissioned by Atlanta and Royal Winnepeg. Music: F. Schubert; Book: George MacDonald
Looks charming from G-images. This is a good way to build ballet audiences for the future as well as now. (Plus touring companies.)
Suspect it won’t be covered here, for good reason, but the Brandt (Medora), Lane (Gulanre), and Simkin (Ali) Corsaire was a dream. Mack was a good partner to Brandt, but not impressive in his solo work. I am constantly amazed at the controlled combination of technique and acrobatics in Simkin’s dancing….. I may need to pay a visit to Germany to watch him in other roles. Sarah and Skylar….. my word. I demand to see Skylar’s Juliet ASAP, and I’d watch Sarah. Hoven and Scott rounded out a great cast.
Suspect it won’t be covered here, for good reason, but the Brandt (Medora), Lane (Gulanre), and Simkin (Ali) Corsaire was a dream. Mack was a good partner to Brandt, but not impressive in his solo work. I am constantly amazed at the controlled combination of technique and acrobatics in Simkin’s dancing….. I may need to pay a visit to Germany to watch him in other roles. Sarah and Skylar….. my word. I demand to see Skylar’s Juliet ASAP, and I’d watch Sarah. Hoven and Scott rounded out a great cast.
Rachel, Haglund was there tonight and will publish a review in the next day or so. Lots to like tonight. So, let’s hold off depositing any more comments about Le Corsaire until the review appears.
Rachel, Haglund was there tonight and will publish a review in the next day or so. Lots to like tonight. So, let’s hold off depositing any more comments about Le Corsaire until the review appears.