Kevin McKenzie’s poor taste has become as predictable as the food poisoning at Atomic Wings. His recent castings of the unprepossessing Isabella Boylston in Petipa classics have been the early signs of a noxious norovirus festering in ABT's artistic intestine. You can’t find a dancer in the corps de ballet who is more careless, more lacking in musicality, more unappealing in appearance, more undeserving of dancing any of the great classical roles. Her promotion to principal this week sent much of the ticketbuying core audience gagging its way to the loo.
Most of the few who are lauding Boylston’s promotion have never put out a dime of their own money to see her dance and never will. They try to figure out which way the wind is blowing and then jump in front of it and raise their own big sails while not caring about the direction of the journey, only that they are out in front.
It betrays all reason that Boylston's messy, inelegant, and homely artistic product has been elevated above the honestly beautiful, exceptional dancing of Sarah Lane, Yuriko Kajiya, Simone Messmer, Maria Riccetto, and above all, Stella Abrera whose artistic standards and output far exceed Boylston's but whose professional, unselfish, adult behavior preclude her from making whiny demands and engaging in little-girl suck-up to Big Daddy McKenzie that have won Boylston and soloist Misty Copeland such opportunities. Boylston's problem is one that not even plastic surgery would resolve, because it is also an intelligence problem, a maturity problem, and an inability to recognize her own classical deficiencies. And now we know from ABT’s video marketing of her that she spits when she speaks. How lovely, and aren’t we all looking forward to more of that.
The New York Times trumpeted the promotion and attempted to imply that its recent reviews of Boylston’s dancing helped to elevate her. The tap dancing enthusiast who the NYT hired to write classical ballet criticism immediately connected with Boylston when he heard her feet clattering around noisily in Giselle. “Her Click Toes, Buffalo Steps, and Squat Wings were as keenie as peach,” he tapped. As marvelous as he made it all sound, the photo that accompanied his review revealed the inelegant, messy, homely truth: ABT now had a doggie version of the world’s greatest ballet.
There is no doubt that ABT needs a good sanitizing, but McKenzie washing his hands at this point would merely be an attempt to cleanse his own conscience.
34 responses to “A promotion of predictably poor taste”
On the plus side, I was glad to see the promotion of Roman Zhurbin to soloist. HIs recent performances in Manon, Moor’s Pavane and others have set a high acting standard which few in the company can meet. (I missed seeing him as one of the Stepsisters in Cinderella.) Character artists of his caliber used to be recognized explicitly as such in company rosters. It may be time to return to this tradition.
On the plus side, I was glad to see the promotion of Roman Zhurbin to soloist. HIs recent performances in Manon, Moor’s Pavane and others have set a high acting standard which few in the company can meet. (I missed seeing him as one of the Stepsisters in Cinderella.) Character artists of his caliber used to be recognized explicitly as such in company rosters. It may be time to return to this tradition.
Jennifer, I agree with you.
Jennifer, I agree with you.
Haglund, there has to be more to this. I think maybe ABT promoting and favoring Misty and Isabella is done to justify Russian guests. If Misty and Isabella are the senior varsity A-team, then of course ABT needs foreign imports. That’s my cynical take, of course it can also coexist with the idea that Kevin has poor taste in dancers as well.
Haglund, there has to be more to this. I think maybe ABT promoting and favoring Misty and Isabella is done to justify Russian guests. If Misty and Isabella are the senior varsity A-team, then of course ABT needs foreign imports. That’s my cynical take, of course it can also coexist with the idea that Kevin has poor taste in dancers as well.
Hi Haglund, At the risk of repeating myself, this is what I wrote on the New York Times comments page when it ran the article announcing the promotion:
“It is mind-boggling to me that Isabella Boylston has been promoted to principal dancer above Stella Abrera! I’ve seen it coming because Ms. Boylston has been given the opportunity to dance principal roles. However, Ms. Abrera is a far better dancer, more classical, more lyrical, more graceful, more arresting on stage, and it is a great injustice that she hasn’t been given the same opportunities as Ms. Boylston. What this means is that Ms. Boylston is going to be cast in roles that I, and many others, have waited for years to see Ms. Abrera perform. This may be enough for me to cancel my patron level membership as well as my ABT subscriptions. The last straw is that Jared Matthews and Yuriko Kajiya are leaving ABT because of lack of promotion. I saw Ms. Kajiya in the dress rehearsal of The Tempest on Monday and she was magnificent. The Board of Trustees should be on its hands and knees begging them both to stay.”
Hi Haglund, At the risk of repeating myself, this is what I wrote on the New York Times comments page when it ran the article announcing the promotion:
“It is mind-boggling to me that Isabella Boylston has been promoted to principal dancer above Stella Abrera! I’ve seen it coming because Ms. Boylston has been given the opportunity to dance principal roles. However, Ms. Abrera is a far better dancer, more classical, more lyrical, more graceful, more arresting on stage, and it is a great injustice that she hasn’t been given the same opportunities as Ms. Boylston. What this means is that Ms. Boylston is going to be cast in roles that I, and many others, have waited for years to see Ms. Abrera perform. This may be enough for me to cancel my patron level membership as well as my ABT subscriptions. The last straw is that Jared Matthews and Yuriko Kajiya are leaving ABT because of lack of promotion. I saw Ms. Kajiya in the dress rehearsal of The Tempest on Monday and she was magnificent. The Board of Trustees should be on its hands and knees begging them both to stay.”
Yes I agree with Jennifer, too. Roman Zhurbin was definitely worthy of a promotion. In my opinion Joseph Gorak was a good choice as well. I’ve only had the privilege of seeing him in a couple of featured roles but each time he blew me away with his technique. Congratulations to them both!
Yes I agree with Jennifer, too. Roman Zhurbin was definitely worthy of a promotion. In my opinion Joseph Gorak was a good choice as well. I’ve only had the privilege of seeing him in a couple of featured roles but each time he blew me away with his technique. Congratulations to them both!
Thanks for all the comments so far, everyone.
Let me start with Genna just to say that I agree that there has to be more to it, but I’m not sure what. When a team’s manager does not field his best players who give him the best chance of winning, there is nearly always a dark, ugly reason for it. Both Boylston and Copeland have been given opportunities that a) they have not earned, b) are beyond the scope of their artistic authority, and c) should have been given to other dancers who have greater skill, artistry, and seniority.
Elizabeth, I totally agree with you about Roman Zhurbin and Joseph Gorak, and let me add congratulations to Devon Teuscher. Christine Shevchenko, while lovely, is not someone I would have selected over Gemma Bond, Skylar Brandt, Nicole Graniero, Melanie Hamrick, Courtney Lavine, Luciana Paris, or Leann Underwood (who has been injured). Given the classical beauty of Lavine, one wonders if she is being made to sit back because she would eclipse Misty and take away some of her limelight and FAUX history-making.
Angelica, your comment in the NYT hit the nail on the head. For anyone who hasn’t seen the article with the comments, here is the link:
http://artsbeat.blogs.nytimes.com/2014/06/30/isabella-boylston-promoted-to-principal-dancer-at-american-ballet-theater/?ref=dance
The comments that zero in on Julie Kent’s inability to leave ABT’s stage and the influence that being married to the associate director may have are well worth reading.
Thanks for all the comments so far, everyone.
Let me start with Genna just to say that I agree that there has to be more to it, but I’m not sure what. When a team’s manager does not field his best players who give him the best chance of winning, there is nearly always a dark, ugly reason for it. Both Boylston and Copeland have been given opportunities that a) they have not earned, b) are beyond the scope of their artistic authority, and c) should have been given to other dancers who have greater skill, artistry, and seniority.
Elizabeth, I totally agree with you about Roman Zhurbin and Joseph Gorak, and let me add congratulations to Devon Teuscher. Christine Shevchenko, while lovely, is not someone I would have selected over Gemma Bond, Skylar Brandt, Nicole Graniero, Melanie Hamrick, Courtney Lavine, Luciana Paris, or Leann Underwood (who has been injured). Given the classical beauty of Lavine, one wonders if she is being made to sit back because she would eclipse Misty and take away some of her limelight and FAUX history-making.
Angelica, your comment in the NYT hit the nail on the head. For anyone who hasn’t seen the article with the comments, here is the link:
http://artsbeat.blogs.nytimes.com/2014/06/30/isabella-boylston-promoted-to-principal-dancer-at-american-ballet-theater/?ref=dance
The comments that zero in on Julie Kent’s inability to leave ABT’s stage and the influence that being married to the associate director may have are well worth reading.
Thanks for pointing out the comments in the NYT article. As a paid & registered subscriber, I went back and clicked the “recommend” button for all that reiterate the points above. Hopefully, the more activity that’s generated in the Comments section will entice NYT to doing a real piece on ABT.
Thanks for pointing out the comments in the NYT article. As a paid & registered subscriber, I went back and clicked the “recommend” button for all that reiterate the points above. Hopefully, the more activity that’s generated in the Comments section will entice NYT to doing a real piece on ABT.
Good to hear, Nicole.
In a May blog post, I wondered aloud why the NYT had not paid more attention to the deterioration of ABT ( http://haglundsheel.typepad.com/haglunds_heel/2014/05/fosamax-gerrymandering-blowhorns-boobs-as-they-pertain-to-ballet-of-course.html ) Unlike the music and opera critics, the dance critics just don’t give a damn, and the general culture news editors are unaware of what is happening. Also, it makes the critics’ jobs easier if they don’t have to travel in order to see and write about other companies’ star dancers. They just wait around until McKenzie brings them into town. Their reviews suggest full support for as many foreign principals that ABT can bring in and be damned with the real company members.
Good to hear, Nicole.
In a May blog post, I wondered aloud why the NYT had not paid more attention to the deterioration of ABT ( http://haglundsheel.typepad.com/haglunds_heel/2014/05/fosamax-gerrymandering-blowhorns-boobs-as-they-pertain-to-ballet-of-course.html ) Unlike the music and opera critics, the dance critics just don’t give a damn, and the general culture news editors are unaware of what is happening. Also, it makes the critics’ jobs easier if they don’t have to travel in order to see and write about other companies’ star dancers. They just wait around until McKenzie brings them into town. Their reviews suggest full support for as many foreign principals that ABT can bring in and be damned with the real company members.
The thing is, at the point Stella Abrera is never going to be promoted. I think she is fabulous and have been taken with her ever since I saw her as Emilia in Lar Lubovitch’s ‘Othello’ which she performed with Alessandra Ferri during Ferri’s retirement season. While my heart goes out to her I also realise appreciate the good show that she continues to put on no matter what. It’s not fair but it’s a McKenzie company and… maybe she should go elsewhere because I just don’t see her being suddenly appreciated by her current bosses especially when you consider her age. Lane herself is closing in on the point of no return and I think she and Stella should really give some serious thought to moving on as did Simone Messmer.
The thing is, at the point Stella Abrera is never going to be promoted. I think she is fabulous and have been taken with her ever since I saw her as Emilia in Lar Lubovitch’s ‘Othello’ which she performed with Alessandra Ferri during Ferri’s retirement season. While my heart goes out to her I also realise appreciate the good show that she continues to put on no matter what. It’s not fair but it’s a McKenzie company and… maybe she should go elsewhere because I just don’t see her being suddenly appreciated by her current bosses especially when you consider her age. Lane herself is closing in on the point of no return and I think she and Stella should really give some serious thought to moving on as did Simone Messmer.
I also thank you, Haglund, for directing us to the comments in the NYT article. I don’t think there were any comments when I was reading it. I also clicked recommend for all that support what readers of HH are saying here.
I also thank you, Haglund, for directing us to the comments in the NYT article. I don’t think there were any comments when I was reading it. I also clicked recommend for all that support what readers of HH are saying here.
I was very surprised by Shevchenko’s promotion. She’s a lovely, graceful dancer but… has she danced any significant soloist roles like the others? If they were going to promote a female from the corp I would have thought Skylar Brandt would have been the one. Their are other dancers also deserving but they unfortunately don’t get any opportunities. This company confuses me. Sometimes I wonder if these “sponsors” they have and how much money they give has anything to do with these confusing promotions and opportunities some dancers are awarded (or lacktherof). That would certainly be a plausible explanation for Boylston’s rise. That inelegant picture of her in the NYT just says it all.
I was very surprised by Shevchenko’s promotion. She’s a lovely, graceful dancer but… has she danced any significant soloist roles like the others? If they were going to promote a female from the corp I would have thought Skylar Brandt would have been the one. Their are other dancers also deserving but they unfortunately don’t get any opportunities. This company confuses me. Sometimes I wonder if these “sponsors” they have and how much money they give has anything to do with these confusing promotions and opportunities some dancers are awarded (or lacktherof). That would certainly be a plausible explanation for Boylston’s rise. That inelegant picture of her in the NYT just says it all.
Thanks for the comments, everyone.
Dane Vid, I totally agree that Stella and Sarah should have turned their backs on McKenzie and walked out long ago. They are two artists who he can count on to turn out fabulous secondary performances with no investment of time on his part. They are reliable, cheap labor who toil without complaint.
Tiffany, the “sponsors” have egos, too, and they lobby for their “properties” to be seen as increasing in value. The basic purpose for which McKenzie trafficks dancers to the sponsors is hardly different from any other type of human trafficking.
Marta, the comments under the NYT article indicate a broad dissatisfaction with ABT. This has also been made clear by the swaths of empty seats at the Met this year and the company’s desperate attempt to sell its guest artists at a discount on TDF and Goldstar.
Thanks for the comments, everyone.
Dane Vid, I totally agree that Stella and Sarah should have turned their backs on McKenzie and walked out long ago. They are two artists who he can count on to turn out fabulous secondary performances with no investment of time on his part. They are reliable, cheap labor who toil without complaint.
Tiffany, the “sponsors” have egos, too, and they lobby for their “properties” to be seen as increasing in value. The basic purpose for which McKenzie trafficks dancers to the sponsors is hardly different from any other type of human trafficking.
Marta, the comments under the NYT article indicate a broad dissatisfaction with ABT. This has also been made clear by the swaths of empty seats at the Met this year and the company’s desperate attempt to sell its guest artists at a discount on TDF and Goldstar.
HH-you make an excellent point. Does ABT plan on giving out an entire house’s worth of tickets? Does Marcelo Gomes and Roberto Bolle need more dead weight to drag around the stage? That is the only way they will move any tickets.
Who is going to pay to see Isabella Boylston in anything? It’s not like we’re talking about an Osipova here, for whom a lot can be said… But at least she filled half the Met with Russian speakers.
HH-you make an excellent point. Does ABT plan on giving out an entire house’s worth of tickets? Does Marcelo Gomes and Roberto Bolle need more dead weight to drag around the stage? That is the only way they will move any tickets.
Who is going to pay to see Isabella Boylston in anything? It’s not like we’re talking about an Osipova here, for whom a lot can be said… But at least she filled half the Met with Russian speakers.
Fan Z, you brought up an interesting point. ABT can’t hook up Boylston with Gomes or Bolle to make her look more acceptable (like they have done with Hee Seo and their many imports) because it would just illuminate how deficient and unappealing she is. So, it appears that they’ve decided to match her up with the most hideous dancer on the roster, Whiteside, in an effort to make her look better. If empty seats could talk….
Fan Z, you brought up an interesting point. ABT can’t hook up Boylston with Gomes or Bolle to make her look more acceptable (like they have done with Hee Seo and their many imports) because it would just illuminate how deficient and unappealing she is. So, it appears that they’ve decided to match her up with the most hideous dancer on the roster, Whiteside, in an effort to make her look better. If empty seats could talk….
I like the fact that they’re pairing Boylston with Whiteside because it makes it so easy to avoid their performances.
I like the fact that they’re pairing Boylston with Whiteside because it makes it so easy to avoid their performances.
I was incredulous when Hee Seo was promoted to principal, and shuddered to see James Whiteside alongside Diana Vishneva in the roster. Now with the latest news on Isabella Boylston I am simply depressed. This reverse meritocracy sends out the awful message that stilted bearing and affected mannerisms are the standard to aspire to, while grace, ease and poise go unrewarded. They’ll have the entire company dancing like them in another three years, if indeed there is anyone left to watch by then.
I was incredulous when Hee Seo was promoted to principal, and shuddered to see James Whiteside alongside Diana Vishneva in the roster. Now with the latest news on Isabella Boylston I am simply depressed. This reverse meritocracy sends out the awful message that stilted bearing and affected mannerisms are the standard to aspire to, while grace, ease and poise go unrewarded. They’ll have the entire company dancing like them in another three years, if indeed there is anyone left to watch by then.
“Reverse meritocracy” pretty sadly sums it up, nickamoto.
“Reverse meritocracy” pretty sadly sums it up, nickamoto.