Le Corsaire should be one of the highlights of ABT’s spring season at the Metropolitan Opera House and enjoy a packed house night after night after night. It is a fun-filled, pyrotechnics-filled, fantasy-filled fluff of a ballet that gives dancers the opportunity to show off, to compete with one another, to tell an outlandish story with tongue in cheek seriousness, to display their comedic talents, and to dance their feet off. Hardly any of the men in the company get this any more. Watching this ballet die a slow death has been horribly painful. For the director of ABT not to have developed the talent within the ranks who were capable of carrying on the legacies of Bocca, Carreno, Corella, and Stiefel in Le Corsaire is just plain negligent. Somebody please walk him to the end of the plank.
ABT uses its weekday matinees to launch its junior dancers out onto the stage in featured roles along side its principals. So, we’re not going to go into much detail about the many shortcomings of the matinee performance yesterday. We are relieved, however, that Veronika Part (Medora) seemed unharmed after being pitched to the floor by Joo Won Ahn’s Lankendem as he carried her out of Act II. He then fell on top of her. It will be a debut that he doesn’t forget. His own solo dancing was clean, but there was no sense of Lankendem in his character. No greediness, no slime, no oil, little else but hearty, clean dancing and a handsome smile. Gabe Stone Shayer’s debut as Birbanto fell short of anyone else who we have seen dance this role. It was as though he were a little kid playing pirate, and there was little in his dancing that suggested why he was cast in this principal role.
On the other hand, when our Veronika – looking more sensationally svelte than we have ever seen her – came flying across the stage in a grand jete, it was like watching the Great Lord of the Eagles swoop in for a silent landing. Oh, to be a little mouse under her tender talons (just for a half second)… Medora is far from an ideal role for Veronika but she certainly gave it her all and is deadly beautiful in the midriff-baring costume. (She also looked lovely in her light blue-violet flouncy tutu in Act II.) What a joy it was to see her in choreography that demands speed. Her fast piques whistled around in a circle gathering steam with every one. She toyed with the Pasha’s desires and then laughed in his face at his effort to hook up with her. She was totally in the game.
Cory Stearns portrayed Conrad, a role that he has danced for several years. In classical roles, he can seem lacking because there is no visible effort or interest in being brilliant. Yesterday his dancing was okay but not beyond okay, and the acting was best in the fight scenes with the other guys. He shows a lot more consistency in his variations than he used to, but that arabesque resists 90 degrees and those coupe jetes don't split much. While there was a cordial chemistry between Conrad and Medora, the partnering seemed labored sometimes. Maybe that was due to the lethargic tempi throughout the afternoon which suggested the conductor could use some Geritol or Dulcolax.
Devon Teuscher enjoyed a very promising debut as Gulnare with an exceptional diagonal of pique/fouettes. She showed true classical strength in all the major areas and made a good start on Gulnare’s character. However, we found her shoes to be noisy with an overly-prominent profile. A softer, flatter, and tapered shoe would enhance her lovely lines.
James Whiteside made a good effort as Ali but it was a conservative effort. The manege of coupe jetes were speedy and forceful. Is it possible that he never saw Corella dance this role? Corella positively ascended to a monadic plane when he danced Ali – his oneness with space, time, music, gravity, and character was something a little beyond human. When watching him dance Ali, one could see him ever reaching for a level of performance that could exist only in his own mind. That was nearly two decades ago. Where is the current crop of Corellas, Carrenos, Stiefels, and Boccas who made the stage and this ballet so thrilling? They’re posing on Instagram.
The Spirit of Le Corsaire picked up the pace a little bit in the evening performance as did the tempi. As Conrad, Exchange Artist Mathias Heymann from the Paris Opera Ballet was competent, but nothing more. He was certainly heads and shoulders above Cory Stearns, but are we really at a point with ABT where Stearns has become a measuring stick? The purpose of this so-called exchange has yet to be disclosed by ABT. Maybe it is to show audiences what the dancers at ABT cannot do or perhaps to show audiences just how badly this company’s own talent is developed and managed.
Gillian Murphy’s Medora showed that she was back nearly to 100% from her calf injury. She had the benefit of a strong, skilled partner – (something that ABT apparently thought it could not provide for her from its own danseur stables; not Hoven, not Forster, not Baca, not Hammoudi) – and showed a vibrancy and cheeriness to go with her technical ease. She started packing the virtuosity into her variations early on and seemed only a shade shy of her normal velocity.
Stella Abrera’s Gulnare sparkled with the brilliance of diamonds and glowed with confidence. Her dancing, always beautiful and often the most beautiful on stage, carried a new importance and vibrancy. We just loved it when she came downstage to finish her variations or when traversing the stage during the story action. Each arabesque line was like a long, unbroken note of music. Her feet distinguished her with their soft pliancy, articulation and QUIETNESS. The theatrical aspect of her performance was on point, too.
Gabe Stone Shayer’s Lankendem was better than his Birbanto a few hours earlier, but was miles away from the huge performances given by Malakhov, Radetsky, Saveliev and Matthews. He spends too much time standing around smirking and being cute. His partnering of Stella was far from what she deserved. What in the world is going on here by giving this corpsman two new principal roles in one day – another affirmative action advancement of an ill-prepared dancer? Why did he get this role instead of Hoven or Baca or Mantei. Sean Stewart would have killed the role of Lankendem. His dancing in the corps this season (as in all seasons) has been superb.
Daniil Simkin’s Ali was full of impressive tricks which he delivered in between his broad smiling at the audience. There was no slave in this Ali, that’s for sure, but there was plenty of audience pandering. He did manage to press Gillian over his head like she was a piece of paper during the Act II PdT. Now she has to worry that McKenzie might try to match them up in Manon or Swan Lake.
Arron Scott was a superb Birbanto. He attacked the role like De Luz, Cornejo, and Salstein did. Splendid and fierce allegro was his to throw whenever he wanted. This man is having quite a season. Luciana Paris was the most perfect Lead Pirate Woman since Erica Cornejo, but we really need to see her in some ballerina roles instead of mostly character shoes. She has a resume that rivals some principals.
The Pump Bump Award, once again, goes to Stella Abrera and Arron Scott for the results of their 150% efforts in Le Corsaire. That’s where people should put their money this season if they want the best return.
30 responses to “ABT 6/1 mat & eve
Le Corsaire: The ship is sinking”
Haglund, I saw only the matinee yesterday, but I agree with everything you wrote in your review, especially what you said about Gabe Stone Shayer, who never should have been hired by ABT in the first place. The only thing he can do is jump high and look smug. Also, although I didn’t see the performance with Stella as Gulnare, I did notice how quiet Veronika’s shoes were. I was in Row A Orchestra and didn’t hear a sound, talk about rolling through the feet.
Like you, I was struck by the pale showing of our male principal dancers today, compared with those of the past. Cory has all the goods: handsome, gorgeous line, beautifully proportioned body (unlike poor Mr. Whiteside whose bared torso only served to emphasize the disproportion of his long upper body v. short lower body), awe-inspiring jumps (which I saw in a studio rehearsal) and turning ability. So why doesn’t he deliver on stage? If you google “gene for risk taking,” you will come up with a bunch of hits that are summed up thusly: “Being a risk taker has been linked to a certain DNA change in the DRD4 (Dopamine Receptor D4) gene. The idea is that if you have this mutation, you will do riskier things.” I think the guys who go for the gold, so to speak, have that gene, which is seen in other behaviors in their lives, e.g., both Bocca and Corella started their own ballet companies, Stiefel goes motorcycling and took a turn at RNZB, Nureyev and Baryshnikov both defected to the West. Even Hallberg seemed to suggest having that gene in his decision to go to the Bolshoi. From my vantage point up close, it seemed to me that Whiteside pulled out all his stops and was taking big risks too. And we know about some of his risky behaviors. But Cory doesn’t have that gene. So when he goes on stage he’s going to dance artfully, but he’s not going to take chances, chances that might cause him an injury or cause him humiliation. Of course, one can attribute the behaviors of the above dancers to things other than the gene (artistic fulfillment, etc.), and you may not agree with this, but I think that Angelica’s Theory of Risk Taking in Ballet is worth thinking about and suggests a possible/probable reason that Cory falls short for us. Oh–and did I mention Vasiliev?
Haglund, I saw only the matinee yesterday, but I agree with everything you wrote in your review, especially what you said about Gabe Stone Shayer, who never should have been hired by ABT in the first place. The only thing he can do is jump high and look smug. Also, although I didn’t see the performance with Stella as Gulnare, I did notice how quiet Veronika’s shoes were. I was in Row A Orchestra and didn’t hear a sound, talk about rolling through the feet.
Like you, I was struck by the pale showing of our male principal dancers today, compared with those of the past. Cory has all the goods: handsome, gorgeous line, beautifully proportioned body (unlike poor Mr. Whiteside whose bared torso only served to emphasize the disproportion of his long upper body v. short lower body), awe-inspiring jumps (which I saw in a studio rehearsal) and turning ability. So why doesn’t he deliver on stage? If you google “gene for risk taking,” you will come up with a bunch of hits that are summed up thusly: “Being a risk taker has been linked to a certain DNA change in the DRD4 (Dopamine Receptor D4) gene. The idea is that if you have this mutation, you will do riskier things.” I think the guys who go for the gold, so to speak, have that gene, which is seen in other behaviors in their lives, e.g., both Bocca and Corella started their own ballet companies, Stiefel goes motorcycling and took a turn at RNZB, Nureyev and Baryshnikov both defected to the West. Even Hallberg seemed to suggest having that gene in his decision to go to the Bolshoi. From my vantage point up close, it seemed to me that Whiteside pulled out all his stops and was taking big risks too. And we know about some of his risky behaviors. But Cory doesn’t have that gene. So when he goes on stage he’s going to dance artfully, but he’s not going to take chances, chances that might cause him an injury or cause him humiliation. Of course, one can attribute the behaviors of the above dancers to things other than the gene (artistic fulfillment, etc.), and you may not agree with this, but I think that Angelica’s Theory of Risk Taking in Ballet is worth thinking about and suggests a possible/probable reason that Cory falls short for us. Oh–and did I mention Vasiliev?
I think you’re onto something, Angelica. And yes indeed, Veronika’s shoes were very quiet.
I think you’re onto something, Angelica. And yes indeed, Veronika’s shoes were very quiet.
Gabe Stone Shayer was striking and energetic in La Fille Mal Gardée. He’s the only corps member who stood out for me. Perhaps he’s not ready for his role in Corsaire (haven’t seen it) but I was very happy to watch him dance earlier in the week.
Gabe Stone Shayer was striking and energetic in La Fille Mal Gardée. He’s the only corps member who stood out for me. Perhaps he’s not ready for his role in Corsaire (haven’t seen it) but I was very happy to watch him dance earlier in the week.
Watched the evening performance on 6/2 with Cornejo, Kochetkova, Cirio, Lane, Simkin and Salstein. It was technically good but this ballet leaves me cold. Something is missing and characters are ill-defined. The crowd seemed enthusiastic though. Cirio was very good as Ali, and Cornejo was appropriately pirate-like. Salstein lacked impact and Simkin was Simkin. I always enjoy watching him dance but he is too playful to be menacing. Shevchenko and Paris stood out as odalisques. Brandt needs quieter shoes.
Watched the evening performance on 6/2 with Cornejo, Kochetkova, Cirio, Lane, Simkin and Salstein. It was technically good but this ballet leaves me cold. Something is missing and characters are ill-defined. The crowd seemed enthusiastic though. Cirio was very good as Ali, and Cornejo was appropriately pirate-like. Salstein lacked impact and Simkin was Simkin. I always enjoy watching him dance but he is too playful to be menacing. Shevchenko and Paris stood out as odalisques. Brandt needs quieter shoes.
Thanks for the shoutout to the retired men of ABT. I remember those days when they were egging each other on. And were the best in the world.
Thanks for the shoutout to the retired men of ABT. I remember those days when they were egging each other on. And were the best in the world.
Ah you hit my “love nerve” in my heart with these mentions Haglund…Missing these names Corella, Carreno, Stiefel, and Bocca, and I will throw my hat in for Baryshnikov! Thanks for the indepth review too! Many may not agree with me, and this is only a personal thought but I have not been a fan of Whiteside, after seeing him in a few past performances, I just feel as if he is dancing for himself, I have yet to see him really connect with his partners, he is not a believable as I have see with the “masters” whom are mentioned above, he is good technically but I think he is best to continue his work for his own brand that he advertises: JDubs? (I believe that is his own brand). I just can’t see him every becoming one of the greats, not now anyway!
And completely agree with Annie H. about the men egging each other on in the past, I remember those days too! Healthy competition and you can see they had fun! That may be another issue now? I don’t know much about the inner workings, but perhaps it is the lack of “healthy” competition/challenge/camaraderie for some? Maybe also board driven decisions for those who get on the extreme fast track too? I would think these factors would cause low morale in any company, which would reflect on performances!?
Ah you hit my “love nerve” in my heart with these mentions Haglund…Missing these names Corella, Carreno, Stiefel, and Bocca, and I will throw my hat in for Baryshnikov! Thanks for the indepth review too! Many may not agree with me, and this is only a personal thought but I have not been a fan of Whiteside, after seeing him in a few past performances, I just feel as if he is dancing for himself, I have yet to see him really connect with his partners, he is not a believable as I have see with the “masters” whom are mentioned above, he is good technically but I think he is best to continue his work for his own brand that he advertises: JDubs? (I believe that is his own brand). I just can’t see him every becoming one of the greats, not now anyway!
And completely agree with Annie H. about the men egging each other on in the past, I remember those days too! Healthy competition and you can see they had fun! That may be another issue now? I don’t know much about the inner workings, but perhaps it is the lack of “healthy” competition/challenge/camaraderie for some? Maybe also board driven decisions for those who get on the extreme fast track too? I would think these factors would cause low morale in any company, which would reflect on performances!?
I was also at the 6/2 performance and agree with anna that something was missing. Cirio was good, but no one goes to Corsaire to see a good Ali; we are there to see a great one. Simkin may have been Simkin for some, but for me he generated star power that reached beyond the edge of the stage and brought life to the piece whenever he appeared. It was a competent but dull evening. In this case the ship deserved to sink.
I was also at the 6/2 performance and agree with anna that something was missing. Cirio was good, but no one goes to Corsaire to see a good Ali; we are there to see a great one. Simkin may have been Simkin for some, but for me he generated star power that reached beyond the edge of the stage and brought life to the piece whenever he appeared. It was a competent but dull evening. In this case the ship deserved to sink.
Thanks to everyone for the astute comments. Re-reading my blog post convinced me to buy another ticket for Saturday night with the hope that “closing night energy” will lift the cast. So, it will be a double-pirate day for Old Hag on Saturday.
Thanks to everyone for the astute comments. Re-reading my blog post convinced me to buy another ticket for Saturday night with the hope that “closing night energy” will lift the cast. So, it will be a double-pirate day for Old Hag on Saturday.
A reader has just reminded me that I was remiss in not including Luis Ribagorda in my short list of great Birbantos. My apologies – he was one the greatest ever. Look at these lines and the intensity:
A reader has just reminded me that I was remiss in not including Luis Ribagorda in my short list of great Birbantos. My apologies – he was one the greatest ever. Look at these lines and the intensity:
Wow! I totally forgot as well, my bad too Haglund as I felt he was a great loss too, but not surprised with the sinking ship at this point! Let’s hope they don’t do likewise to his wife!
Wow! I totally forgot as well, my bad too Haglund as I felt he was a great loss too, but not surprised with the sinking ship at this point! Let’s hope they don’t do likewise to his wife!
Hi Haglund,
I saw two performances of “Le Corsaire”: on Thursday night and Saturday night. As much as I like Herman Cornejo and Sarah Lane, I was very disappointed on Thursday. I can’t quite put my finger on why, but the entire performance seemed tired, lethargic and dated. I went back on Saturday evening, not expecting much, but surprisingly, I had a great time. It seemed to me that everything just came together better last night. I particularly enjoyed Veronika Part. I thought she lit up the theater! It’s a shame we don’t get to see more of her.
Hi Haglund,
I saw two performances of “Le Corsaire”: on Thursday night and Saturday night. As much as I like Herman Cornejo and Sarah Lane, I was very disappointed on Thursday. I can’t quite put my finger on why, but the entire performance seemed tired, lethargic and dated. I went back on Saturday evening, not expecting much, but surprisingly, I had a great time. It seemed to me that everything just came together better last night. I particularly enjoyed Veronika Part. I thought she lit up the theater! It’s a shame we don’t get to see more of her.
Hello again,
I saw in Playbill that Nicole Graniero was dancing with the corps last night. What a surprise! I know she left ABT last summer to join The Washington Ballet. She says on Instagram that she is back again with ABT for the rest of the Met season while on summer layoff from TWB. I think it’s great to get the opportunity to dance with two different companies. Good for her!
Hello again,
I saw in Playbill that Nicole Graniero was dancing with the corps last night. What a surprise! I know she left ABT last summer to join The Washington Ballet. She says on Instagram that she is back again with ABT for the rest of the Met season while on summer layoff from TWB. I think it’s great to get the opportunity to dance with two different companies. Good for her!
I agree about Saturday night, B. I saw both performances on Saturday and each showed a lot of improvement.
I simply don’t think that Conrad is a good role for Mathias Heymann but I can certainly appreciate and admire the French integrity in his dancing. The showboating required and the tackling of such an absurd and ridiculous story kind of goes against the grain of his POB upbringing.
Stella danced one of her strongest, most beautiful Act Ones ever in this ballet. And you know what, no one was in the Company’s Box to watch her. If ABT can’t round up the director, assistants, or go-phers to watch its dancers, how can it expect other people to shell out vast sums of money to watch them? McKenzie has been doing this for years. He skips Stella’s performances, he’s often skipped Veronika’s, he used to skip Jared Matthews’ and any number of other dancers who aren’t named Simkin, Boylston, Seo , Copeland or “guest artist”. How does a director give feedback to a dancer after a performance if he doesn’t even bother to watch it? Oh, wait, maybe McKenzie doesn’t bother to give feedback to the dancers after performances – except for (see above).
In the evening, everyone seemed to be trying a lot harder. It was much better but not even close to the Noche Latina Le Corsaires a decade ago. Stearns had a lot more energy; Whiteside took some good risks (very appropriate for Le Corsaire but not most elsewhere) and took his dancing a level up; Gabe and Joo Won — they couldn’t get out of I-wanna-be-a-danseur mode to really tackle their characters. Years ago Carreno was such a hoot in Lankendom. One second he was scheming and the next second he was clueless as to how he got into trouble. Cornejo and De Luz were dark and dangerous as Birbanto. Their fierceness was totally believable and their humor was very sharp.
In the evening, Veronika was simply sensational. We’re so happy to see her dancing on such a high level.
It is interesting that Alastair Irrelevant et al are resisting with their noses high in the air any reviews of Le Corsaire. They seem to think that the production is beneath them to watch.
Here’s a link to veteran NYT dance critic Anna Kisselgoff’s review of Le Corsaire in 2002: ( http://www.nytimes.com/2002/06/19/arts/dance-review-corsaire-tells-its-tale-by-leaps-and-bounds.html ) She absolutely loved it and made this astute observation: Every individual performance has to be at the highest level for the staging’s stunning impact to come through. That may be what part of the problem was this week.
Four years later, ABT put together the two Noche Latina performances which were blockbuster successes. The NYT’s dance critic at that time, John Rockwell, had a rip-roaring good time at the performance he reviewed: ( http://www.nytimes.com/2006/05/25/arts/dance/25cors.html )
It was good to see that the attendance was a lot better than Sylvia. That certainly would have irked Mr. Irrelevant.
I agree about Saturday night, B. I saw both performances on Saturday and each showed a lot of improvement.
I simply don’t think that Conrad is a good role for Mathias Heymann but I can certainly appreciate and admire the French integrity in his dancing. The showboating required and the tackling of such an absurd and ridiculous story kind of goes against the grain of his POB upbringing.
Stella danced one of her strongest, most beautiful Act Ones ever in this ballet. And you know what, no one was in the Company’s Box to watch her. If ABT can’t round up the director, assistants, or go-phers to watch its dancers, how can it expect other people to shell out vast sums of money to watch them? McKenzie has been doing this for years. He skips Stella’s performances, he’s often skipped Veronika’s, he used to skip Jared Matthews’ and any number of other dancers who aren’t named Simkin, Boylston, Seo , Copeland or “guest artist”. How does a director give feedback to a dancer after a performance if he doesn’t even bother to watch it? Oh, wait, maybe McKenzie doesn’t bother to give feedback to the dancers after performances – except for (see above).
In the evening, everyone seemed to be trying a lot harder. It was much better but not even close to the Noche Latina Le Corsaires a decade ago. Stearns had a lot more energy; Whiteside took some good risks (very appropriate for Le Corsaire but not most elsewhere) and took his dancing a level up; Gabe and Joo Won — they couldn’t get out of I-wanna-be-a-danseur mode to really tackle their characters. Years ago Carreno was such a hoot in Lankendom. One second he was scheming and the next second he was clueless as to how he got into trouble. Cornejo and De Luz were dark and dangerous as Birbanto. Their fierceness was totally believable and their humor was very sharp.
In the evening, Veronika was simply sensational. We’re so happy to see her dancing on such a high level.
It is interesting that Alastair Irrelevant et al are resisting with their noses high in the air any reviews of Le Corsaire. They seem to think that the production is beneath them to watch.
Here’s a link to veteran NYT dance critic Anna Kisselgoff’s review of Le Corsaire in 2002: ( http://www.nytimes.com/2002/06/19/arts/dance-review-corsaire-tells-its-tale-by-leaps-and-bounds.html ) She absolutely loved it and made this astute observation: Every individual performance has to be at the highest level for the staging’s stunning impact to come through. That may be what part of the problem was this week.
Four years later, ABT put together the two Noche Latina performances which were blockbuster successes. The NYT’s dance critic at that time, John Rockwell, had a rip-roaring good time at the performance he reviewed: ( http://www.nytimes.com/2006/05/25/arts/dance/25cors.html )
It was good to see that the attendance was a lot better than Sylvia. That certainly would have irked Mr. Irrelevant.
And yes, isn’t it good to see Nicole Graniero back again!
And yes, isn’t it good to see Nicole Graniero back again!
I didn’t mean to imply that I don’t love watching Simkin, I do. But to me he steals scenes, and while it’s a great quality, sometimes he needs to disappear into the role completely and shine the spotlight on whomever he is partnering. Gomes for instance does both effortlessly.
Now I wish I had gone to Saturday’s performance instead.
P.s. I never see anyone in the company or director’s box.
I didn’t mean to imply that I don’t love watching Simkin, I do. But to me he steals scenes, and while it’s a great quality, sometimes he needs to disappear into the role completely and shine the spotlight on whomever he is partnering. Gomes for instance does both effortlessly.
Now I wish I had gone to Saturday’s performance instead.
P.s. I never see anyone in the company or director’s box.