Were it not for the extraordinary dancing of Sarah Lane and Herman Cornejo along with a few secondary players last night, this reconstruction of Sleeping Beauty would have seemed more like salvage. That's not to take anything away from salvage art – because, well, Haglund is a collector.
Here is a photo of two of his favorite pieces (click on image to enlarge): the artist’s “canvases" are ceiling tin panels reclaimed from late 19th Century buildings in the area that were demolished for redevelopment. The artist prepped the battered tin panels with a trademarked process and then created his own art over them. Reclaiming and repurposing architectural salvage as art created something new and beautiful that also literally came from the late 1800s. Salvage makes our lives richer.
Of the three Auroras who Haglund has seen in Alexei Ratmansky's new production (Vishneva, Murphy, Lane), Sarah Lane’s version comes closest to capturing the qualities of ballet’s bygone era while infusing it with modern sensibility. Eliminating the common virtuosity of current times – the large sweeping legs, multiple pirouettes, grand jumps, high extensions, audience milking – and substituting small swift articulation, delicate poses, and more of a darting quality than lyrical, has its risks. It’s suited to a smaller dancer like Sarah or someone who can rein in expansiveness inherent in 20th-21st century dancing. It’s also suited to an audience that has a taste for something other than McDonald’s-quality ballet.
In Act I of last night’s performance, Sarah seemed a bit unsettled at first, but nevertheless, throughout the night she delivered a musically sensitive performance of Aurora with arabesques that slowly closed into passe while en pointe and arabesque fouettes where the front leg held a shapely 90 degree extension while on balance. The articulation and swiftness of her allegro were unstrained, unrushed, and joyous even though the tempo was quite a bit faster than the tempi given to other Auroras. Her coupe jetes were light and covered a good amount of space while keeping the torso high above the hips. Those initial battements to the side that came in quickly to passe were breathtaking in their eloquence. Sarah’s musicality throughout the night, particularly those supported pirouettes that opened brilliantly fast to arabesque, reminded Haglund of Margot Fonteyn. Her port de bras is now one of the best in the company – so natural, generous, lengthened, and integrated that it often draws the eye.
Princes with long, skinny arms should never be part of a Rose Adagio crew. Aurora needs strong arms like those of Blaine Hoven and Roman Zhurban that she can depend on. (Blaine and Roman were assigned to Vishneva’s Aurora.) Calvin Royal’s Spanish Prince arm wavered like a flapping wing and provided almost no support for tiny Sarah’s balances. At times, it looked like she was trying to balance him instead of vice versa. But it seems that she was prepared for the lack of support (being fully experienced in that regard) and was particularly self-reliant on the first of each set of balances. The remainder of the Prince crew (Duncan Lyle, Craig Salstein, and Grant DeLong) got Aurora around with greater assurance.
Once her Prince Desire arrived on the scene, however, Sarah’s Aurora fully blossomed. She and Herman Cornejo were exquisite together – perfectly matched physically and temperamentally. With his own variation, Herman woke up the audience which seemed sleepy from the nonstop parade of costumes – like it had eaten a heavy meal with too much wine. If there is one thing that makes almost every Sleeping Beauty production less interesting than it should be, it’s the lack of choreography given to Desire. Yeah, yeah, yeah, we know – we have to live with it because that’s the way the ballet was conceived. OK, so we’ll live with it, but be forever unsatisfied.
There's really no reason, though, for us to continue to be dissatisfied with the substitute for the fish dives – a double en dedans turn in attitude devant that ends with a severely leaning extension in ecarte. In the first instance last night, the whole move very nearly pulled Sarah off the ground, which may be exactly how it originally evolved into the fish dive – by mistake. Their final pose – a deep, deep fish going the opposite direction with both of Aurora's legs crossed behind her – was very pretty, indeed. We hope someone got a picture of it.
Our Lilac Fairy, Devon Teuscher, didn’t have as clean a performance as earlier in the run. The variation is a killer, and it just wasn’t Devon’s night.
The fairies and attendants were messy last night, out of line, out of sync. The Fairy Violente is becoming increasingly annoying. Again, we have to ask, is this very hard reach for humor something that was in the Stepanov notes or is it Ratmansky’s idea? It doesn’t work. The costume is hideous. The wig is ugly. We withheld applause.
Our Diamond Fairy, Skylar Brandt, was brilliant and glistening but also a little loud in the feet. Princess Florine (Misty Copeland) and The Bluebird (Gabe Stone Shayer) were heavy and lackluster. The Bluebird had trouble with his tours and leaps in second position and, if Princess Florine even tried to do the hops on pointe, we didn’t see them get off the ground. The reverberation in the ankles from every eschappe was evident. It all looked very simplified and mundane – especially when compared to the illustrious performances of Trenary & Simkin and Abrera & Hoven. Maybe Princess Florine is saving herself to dazzle everyone with fast single pirouettes inserted in place of fouettes in Swan Lake.
Courtney Lavine and Tom Forster as Cinderella and Prince Fortune were a breath of fresh air. We wish we could see more of these two dancers before they, too, begin withering on the vine. Actually, we wish we could see them hook up with the Royal Ballet when it comes to visit this month. And Sarah and Herman, too.
Because there has been so much to discuss with this production over the weeks, we have overlooked mentioning what an excellent job Alexei Agoudine has done in the character role of Catalabutte. He makes the highly animated mime look like the norm and also important. Even his work on the side of the stage where he reacts to what is happening in the center has been enjoyable to watch.
The H.H. Pump Bump Award is bestowed upon Sarah Lane whose artistry continues to glisten and grow despite the evil fairies around her.
40 responses to “ABT – Sleeping Beauty 6/11
Small is beautiful”
I don’t find Lane’s height to be a problem at all. And I don’t understand people who say it is. It’s as if they’ve never seen tall danseurs supporting fairy sized ballerinas before. Balanchine loved pairing Martins with tiny girls (Mazzo, McBride) just for the extra visual frisson. This shouldn’t be holding Lane back from dancing with various partners in the company. It is just a poor excuse.
Lane would be a good fit for RB. I just hope she can find a place that will appreciate what she has to offer. In the meantime I will continue to support her performances. Although I think I have to draw the line on this ballet. It’s a dud. It’s like something they dug up out of Diaghilev’s grave.
I don’t find Lane’s height to be a problem at all. And I don’t understand people who say it is. It’s as if they’ve never seen tall danseurs supporting fairy sized ballerinas before. Balanchine loved pairing Martins with tiny girls (Mazzo, McBride) just for the extra visual frisson. This shouldn’t be holding Lane back from dancing with various partners in the company. It is just a poor excuse.
Lane would be a good fit for RB. I just hope she can find a place that will appreciate what she has to offer. In the meantime I will continue to support her performances. Although I think I have to draw the line on this ballet. It’s a dud. It’s like something they dug up out of Diaghilev’s grave.
I was at this performance and must comment on the poor Bluebird. What I saw was complete lack of line and extension, plus an ugly knee bend every time his back leg was raised. His leg made me think broken tree branch.
I understand the need to bring corps dancers along and nurture them, but this poor guy was in no way ready to be plucked from obscurity and given this shot.
I was at this performance and must comment on the poor Bluebird. What I saw was complete lack of line and extension, plus an ugly knee bend every time his back leg was raised. His leg made me think broken tree branch.
I understand the need to bring corps dancers along and nurture them, but this poor guy was in no way ready to be plucked from obscurity and given this shot.
Ellen, I may be wrong but the variation may have called for those bent knees. However, they weren’t crisply bent and the shape was not strong. They were lax and the feet also looked lax. The result was a very sloppy appearance. Also, Gabe is not a good match for Misty. He should be dancing with someone much smaller.
Ellen, I may be wrong but the variation may have called for those bent knees. However, they weren’t crisply bent and the shape was not strong. They were lax and the feet also looked lax. The result was a very sloppy appearance. Also, Gabe is not a good match for Misty. He should be dancing with someone much smaller.
I’m so glad you wrote this vivid review of last night’s performance, Haglund, because I agree with you in every aspect–and it was all staying stuffed in my head because I didn’t have the time to write anything. Now I don’t have to because you did.
I understand that Veronika was much more eloquent than Devon in the mime sections (the woman sitting next to me, who was seeing her fourth SB, told me that), and I don’t care how they did it in the 19th century, the loss of the lilac fairy’s dancing is just that–a loss. The costumes were overwrought, the wigs insanely high, and basically ugly all around. Devon looked like she had gone prematurely gray. I felt for Sarah in the Rose Adagio, because she seemed so disappointed in herself afterwards, but I totally agree that she rallied round and gave an exquisite performance.
It strikes me that this ballet depends entirely on the ballerina. She doesn’t get a moment’s rest. It’s a punishment. As for its interminable length, it’s important to remember that this ballet had its origins at a time when live entertainment was the only entertainment available, to the court or anyone else. Like Shakespeare’s plays, which are also long, long, long.
Again, with all due respect to the 19th century, I also think they should do away with the fairy tale characters. Courtney was wonderful, but the others were just boring. A heavy meal is the perfect metaphor. I don’t think I’ll go to this ballet again unless they give Aurora to Veronika or Stella.
I’m so glad you wrote this vivid review of last night’s performance, Haglund, because I agree with you in every aspect–and it was all staying stuffed in my head because I didn’t have the time to write anything. Now I don’t have to because you did.
I understand that Veronika was much more eloquent than Devon in the mime sections (the woman sitting next to me, who was seeing her fourth SB, told me that), and I don’t care how they did it in the 19th century, the loss of the lilac fairy’s dancing is just that–a loss. The costumes were overwrought, the wigs insanely high, and basically ugly all around. Devon looked like she had gone prematurely gray. I felt for Sarah in the Rose Adagio, because she seemed so disappointed in herself afterwards, but I totally agree that she rallied round and gave an exquisite performance.
It strikes me that this ballet depends entirely on the ballerina. She doesn’t get a moment’s rest. It’s a punishment. As for its interminable length, it’s important to remember that this ballet had its origins at a time when live entertainment was the only entertainment available, to the court or anyone else. Like Shakespeare’s plays, which are also long, long, long.
Again, with all due respect to the 19th century, I also think they should do away with the fairy tale characters. Courtney was wonderful, but the others were just boring. A heavy meal is the perfect metaphor. I don’t think I’ll go to this ballet again unless they give Aurora to Veronika or Stella.
Sarah Lane is my favorite ABT ballerina. I also saw her last night and thought she was exquisite, as usual. No one would be happier than I would to see Sarah promoted to principal dancer. However, I think she lacks confidence in herself, and this is noticeable on stage—at least on a stage as large as the Met. She appears to be thinking about each and every step, rather than letting the performance flow. Maybe this is because she simply doesn’t get enough practice in the bigger roles, but I really think Sarah needs a coach who could teach her how to “sell” herself more and project “bigger.”
Sarah Lane is my favorite ABT ballerina. I also saw her last night and thought she was exquisite, as usual. No one would be happier than I would to see Sarah promoted to principal dancer. However, I think she lacks confidence in herself, and this is noticeable on stage—at least on a stage as large as the Met. She appears to be thinking about each and every step, rather than letting the performance flow. Maybe this is because she simply doesn’t get enough practice in the bigger roles, but I really think Sarah needs a coach who could teach her how to “sell” herself more and project “bigger.”
Haglund,
Thanks for the reply above. I appreciate the info and will try to be more charitable in the future.
The highlight for me was Cornejo’s first variation in the Grand Pas. It was worth sitting through everything else just for that.
Haglund,
Thanks for the reply above. I appreciate the info and will try to be more charitable in the future.
The highlight for me was Cornejo’s first variation in the Grand Pas. It was worth sitting through everything else just for that.
B – from my vantage point, I thought Sarah’s projection was good. I really disliked what Vishneva did with this role; I thought she clearly OVER-projected, and she didn’t look valid as she tried to convey a 16 year old. Sarah’s youthfulness coupled with a sense of good manners was not a reach for her by any means. Even Gillian made me a little uncomfortable with her efforts to pull off innocent teen girl.
I didn’t think that Sarah’s obvious concentration was any greater than what we routinely see from Gillian or Paloma or Veronika or others. I would hate to see Sarah pushed into a corner where she felt she has to start behaving like Misty on stage. Nothing would be uglier to see.
I would go back to see that performance yesterday again and again. Sarah has much to offer, including unique lovely musical qualities not evident in the other dancers with whom she shares roles.
B – from my vantage point, I thought Sarah’s projection was good. I really disliked what Vishneva did with this role; I thought she clearly OVER-projected, and she didn’t look valid as she tried to convey a 16 year old. Sarah’s youthfulness coupled with a sense of good manners was not a reach for her by any means. Even Gillian made me a little uncomfortable with her efforts to pull off innocent teen girl.
I didn’t think that Sarah’s obvious concentration was any greater than what we routinely see from Gillian or Paloma or Veronika or others. I would hate to see Sarah pushed into a corner where she felt she has to start behaving like Misty on stage. Nothing would be uglier to see.
I would go back to see that performance yesterday again and again. Sarah has much to offer, including unique lovely musical qualities not evident in the other dancers with whom she shares roles.
Hi, Angelica.
The ballerina can’t pull off the Rose Adagio by herself. Sarah didn’t have all the support she deserved for it. You will recall her Rose Adagio during the last run of S.B. when she was brilliant, in part, because she had an A-1 crew of Princes supporting her. Two of them left the company and the other two were assigned to Vishneva and/or Seo. When excellent corps dancers leave the company out of dissatisfaction, other people suffer as well.
There are so many awful situations at ABT right now that it’s a wonder anyone is unaffected. To my knowledge, no one has yet been spectacular with the Rose Adagio this season. That says something.
Hi, Angelica.
The ballerina can’t pull off the Rose Adagio by herself. Sarah didn’t have all the support she deserved for it. You will recall her Rose Adagio during the last run of S.B. when she was brilliant, in part, because she had an A-1 crew of Princes supporting her. Two of them left the company and the other two were assigned to Vishneva and/or Seo. When excellent corps dancers leave the company out of dissatisfaction, other people suffer as well.
There are so many awful situations at ABT right now that it’s a wonder anyone is unaffected. To my knowledge, no one has yet been spectacular with the Rose Adagio this season. That says something.
Boylston WAS spectacular in the Rose Adagio on Wed night. Audience went crazy with bravos and even some standing in front orchestra section as she and the four princes were completing the pas.
Boylston WAS spectacular in the Rose Adagio on Wed night. Audience went crazy with bravos and even some standing in front orchestra section as she and the four princes were completing the pas.
That’s good to hear, but I’ve come to find that we define great dancing quite differently.
That’s good to hear, but I’ve come to find that we define great dancing quite differently.
Some comments on the new Sleeping Beauty in an interview with Gillian Murphy that she linked on her Twitter:
http://thebarreflies.com/archives/sleeping-beauty/?critic=559
Confirms what others have observed: The costumes are stunning to look at, but the weight of the full tutu skirts makes it quite a bit more difficult to turn quickly or to put the brakes on after a fast menege.
Some comments on the new Sleeping Beauty in an interview with Gillian Murphy that she linked on her Twitter:
http://thebarreflies.com/archives/sleeping-beauty/?critic=559
Confirms what others have observed: The costumes are stunning to look at, but the weight of the full tutu skirts makes it quite a bit more difficult to turn quickly or to put the brakes on after a fast menege.
I hadn’t thought of that, Haglund, so thank you for enlightening me. It makes very good sense. Which leads to my belief that–with all due respect to the 19th century–the money that was spent on this production, including rehearsal time, costumes, wigs, etc., would have been better spent on consistently providing company coaching with the best coaches to ensure the quality of performances overall. What’s the point of staging a new production if you don’t have dancers who can pull it off? Dancers who also suffer in other ballets from the lack of expert coaching. I remember David Hallberg saying that the first thing that happened when he arrived at the Bolshoi Ballet was that they assigned him a coach. We could do that here instead of all the pomp, if the will were there.
I hadn’t thought of that, Haglund, so thank you for enlightening me. It makes very good sense. Which leads to my belief that–with all due respect to the 19th century–the money that was spent on this production, including rehearsal time, costumes, wigs, etc., would have been better spent on consistently providing company coaching with the best coaches to ensure the quality of performances overall. What’s the point of staging a new production if you don’t have dancers who can pull it off? Dancers who also suffer in other ballets from the lack of expert coaching. I remember David Hallberg saying that the first thing that happened when he arrived at the Bolshoi Ballet was that they assigned him a coach. We could do that here instead of all the pomp, if the will were there.
So true, Angelica. The $6 million price tag for this Sleeping Beauty was a whopper. Even considering that it was co-produced with La Scala (but we don’t know if it was a 50:50 arrangement), what was spent could have bought a darn good new artistic director and other artistic staff that would have had very long-term benefits.
So true, Angelica. The $6 million price tag for this Sleeping Beauty was a whopper. Even considering that it was co-produced with La Scala (but we don’t know if it was a 50:50 arrangement), what was spent could have bought a darn good new artistic director and other artistic staff that would have had very long-term benefits.
Kallima, thanks much for the link!
Kallima, thanks much for the link!
Actually, my favorite part was Nancy Raffa as Carabosse.
Actually, my favorite part was Nancy Raffa as Carabosse.
ouch.
ouch.
I know. But I didn’t get to see the other Carabosses, who I understand were much better. Actually, my favorite part was watching Sarah, but my second favorite part was the role of Carabosse, minus all the rat nonsense. Ratmansky maybe has rats in his apartment?
I know. But I didn’t get to see the other Carabosses, who I understand were much better. Actually, my favorite part was watching Sarah, but my second favorite part was the role of Carabosse, minus all the rat nonsense. Ratmansky maybe has rats in his apartment?
True, the hyper-kinetic rat choreography didn’t suggest that it was Petipa-based.
True, the hyper-kinetic rat choreography didn’t suggest that it was Petipa-based.
Thanks for this wonderful post about my favorite dancer Sarah Lane. These days, Lane’s style of beautiful, complex movement is not well received, especially from tourists paying discounted prices for seats. I’ve always preferred her performances to those of other dancers, including visiting Europeans, and I hope ABT allows her to continue to appear in leading roles (i.e., I don’t expect they’ll promote her).
It seems I’m the only person who really, really loves the new Sleeping Beauty, costumes and wigs included! Understandable, because of my profession, but sadly, I can’t imagine this production will remain in its current form in the coming years, if at all. However, I doubt that ABT would ever use the money they might have spent on costumes & wigs for coaching instead. If it were a priority for them, a wealthy donor might be supporting a special coaching fund right now. I’d be horrified to see that old McKenzie-Kirkland version of SB return just because the style of dance and dress in the new version is not understood or crowd-pleasing. Ratmansky has given audiences a rare gift, the chance to step into a time machine and experience something wonderful from the past. Audiences are actually required to engage their minds and imaginations while watching, rather than remain passive, the way more voyeuristic forms of entertainment need them to be. But audiences are lazy, and ABT always prefers the easy route to box office success, so I always expect the worst from them.
Thanks for this wonderful post about my favorite dancer Sarah Lane. These days, Lane’s style of beautiful, complex movement is not well received, especially from tourists paying discounted prices for seats. I’ve always preferred her performances to those of other dancers, including visiting Europeans, and I hope ABT allows her to continue to appear in leading roles (i.e., I don’t expect they’ll promote her).
It seems I’m the only person who really, really loves the new Sleeping Beauty, costumes and wigs included! Understandable, because of my profession, but sadly, I can’t imagine this production will remain in its current form in the coming years, if at all. However, I doubt that ABT would ever use the money they might have spent on costumes & wigs for coaching instead. If it were a priority for them, a wealthy donor might be supporting a special coaching fund right now. I’d be horrified to see that old McKenzie-Kirkland version of SB return just because the style of dance and dress in the new version is not understood or crowd-pleasing. Ratmansky has given audiences a rare gift, the chance to step into a time machine and experience something wonderful from the past. Audiences are actually required to engage their minds and imaginations while watching, rather than remain passive, the way more voyeuristic forms of entertainment need them to be. But audiences are lazy, and ABT always prefers the easy route to box office success, so I always expect the worst from them.
LLF, all good points.
The NYCB audience is far more willing to invest their minds in what they’re seeing on stage than the ABT audience (not counting the crossover balletomanes). NYCB’s audience has always been more sophisticated and “arty” than ABT’s which is a more casual, “come see the ballet once per year” audience.
Nothing meaningful will change at ABT without a change in Board and a change in AD. The former might happen sooner than later. It could be time for Chairman Donald Kramer to hand over the reins to someone else. He will complete his 5th year in January. The previous chair, Edward Fox, stayed from 2007-2011. The chair prior to Fox, Lewis Ranieri, stayed from 2002-2007. The one prior to Ranieri, Gedalio Grinberg, only stuck it out for 11 months. So, it’s about time for a change. Seeing as Kevin McKenzie and Rachel Moore “chose” Kramer, it seems likely that they will try to choose another person who will support their wayward direction. The best thing that could happen to ABT would be for several board members to quit and walk away with their wallets. We’re past the point where cold water in the face will wake up these fools. They need a series of hard slaps.
LLF, all good points.
The NYCB audience is far more willing to invest their minds in what they’re seeing on stage than the ABT audience (not counting the crossover balletomanes). NYCB’s audience has always been more sophisticated and “arty” than ABT’s which is a more casual, “come see the ballet once per year” audience.
Nothing meaningful will change at ABT without a change in Board and a change in AD. The former might happen sooner than later. It could be time for Chairman Donald Kramer to hand over the reins to someone else. He will complete his 5th year in January. The previous chair, Edward Fox, stayed from 2007-2011. The chair prior to Fox, Lewis Ranieri, stayed from 2002-2007. The one prior to Ranieri, Gedalio Grinberg, only stuck it out for 11 months. So, it’s about time for a change. Seeing as Kevin McKenzie and Rachel Moore “chose” Kramer, it seems likely that they will try to choose another person who will support their wayward direction. The best thing that could happen to ABT would be for several board members to quit and walk away with their wallets. We’re past the point where cold water in the face will wake up these fools. They need a series of hard slaps.