Wednesday’s matinee and evening performances of Natalia Makarova’s exquisite production of La Bayadere included debuts by the tallest and the shortest ballerinas portraying Nikiya for ABT. At the end of the day, they both stood tall as Himalayan peaks among the ever-rolling range of highs and below-sea-level lows that ABT puts on its stage.
At the matinee, Devon Teuscher’s Nikiya was of towering strength, sturdy form, and cool grace – not unlike the Nikiya who Makarova chose for the opening of ABT’s Kingdom of the Shades in the mid-1970s, the 28-year-old Cynthia Gregory who had Made in America / Built to Last stamped all over her steely technique. The Kingdom of the Shades proved to be Devon’s strongest of the three acts for the superb technical control in her dancing, her unruffled nerves, and beauty of line. In the Act I dance in the garden of the palace, Nikiya could have offered more bend in the back to convey the depth of her love of Solor. Overall, the acting did not come from within her; rather, it seemed laid over the steps.
Making his debut as Solor, Joo Won Ahn already is more interesting to watch than most of the “homegrown” principal men in the company. Ahn's guiding principal, Marcelo Gomes, who was abruptly pushed out of ABT last year during the NY Times's irresponsible frenzied feeding on and publication of hearsay and rumors, has had a huge and obvious impact on this young dancer’s growth and style. Gomes first paired Ahn with Teuscher in the Black Swan PdD a couple of summers ago during an off-season tour to his home town in Brazil. This occurred a couple of months after Ahn, while racing to the back of the stage carrying Medora, pitched her to the floor and fell on top of her in a most memorable performance of Le Corsaire. (Balletomanes never forget.) Things have definitely smoothed out for him, though, and he’s now very watchable. We can’t say that there was much natural rapport between Ahn and Teuscher — both are relatively new to the idea of creating rapport with a partner in a principal role – but their partnering was highly coordinated and musical.
Christine Shevchenko brought stunning technique, confidence, and first rate drama skills to her debut as Gamzatti. Not since the Days of Dvorovenko in this role have we been so tantalized by the seething Gamzatti and her sense of entitlement. Shevchenko’s Act I was technically secure in every way, but it was her Act III solo that combined desperation, humiliation, anger, passion, and to the extent possible for Gamzatti, love for Solor. A fine debut, indeed, and we were ready to see this performance again, but unfortunately, it was a one-off.
Also a one-off was the evening performance in which Sarah Lane gave a reading of Nikiya of such depth and complexity that we thought we were seeing this character for the first time. She is nearly as tiny as Makarova was 38 years ago when she debuted her full La Bayadere for ABT. We keep mentioning Makarova because of her unmistakable and authoritative presence in the main orchestra section at each performance. Seventy-seven years old going on 50. That means, hopefully, that ABT dancers will have to continue to strive to meet her standards for many more years to come.
Sarah Lane had such a light burning within her that we could see the love in her soul for Solor. The Act I solo revealed achingly beautiful arabesques and a deep bend in the back without punching out the ribs. We could see that she was aiming for those Tereshkina balances during her dance at the betrothal of Solor and Gamzatti. Hopefully, she’ll get a few more chances to achieve her goal long before McKenzie decides it’s time to march those ballerina hooves off to the glue factory. Sarah’s Act II, but for the turns in the scarf dance, was exceptionally well-danced. Her diagonal of racing soutenus and backward arabesque chugs were thrilling. Those scarf turns were odd in that a couple of times Sarah finished with a point tendu to the front rather than in 5th position which meant that she repeated the same miscalculations in her turns instead of correcting them. Her Act III Nikiya was all beautiful spirit – in high distress. She was a slender trace of the gorgeous vision that Solor had dreamed about while in an opium stupor – now running through the wedding nuptials trying to disrupt them while only visible to Solor.
Herman Cornejo gave a convincingly theatrical and brilliantly danced Solor. Upon his entrance he had Haglund totally believing that he had just killed the tiger whereas with Joo Won Ahn in the afternoon, we weren’t sure whether perhaps he might be telling some kind of fish story. Herman didn’t try to turn Solor into Basilio who throws himself around for the sake of flash. This guy was a noble warrior and noble was Herman Cornejo. His saute battement fouette battu were gigantic and crystalline clear. His endings of combinations were dramatic. His partnering of Sarah was secure and tender. Their rapport was the best of any pair of dancers at ABT — maybe that’s not saying as much as it used to say but nevertheless it is now the truth. We should be seeing these two together in Swan Lake rather than seeing the Swan Lake week soiled with two slog-filled performances by the Celebrina who has to fake her way through the steps. The Celebrina in Swan Fake – that’s what they should call it.
Skylar Brandt’s debut as Gamzatti showed great promise. The technical dancing was masterful, but nailing down and holding onto Gamzatti’s character was more challenging. The fight with Nikiya where Gamzatti tried to buy her off with a necklace was pretty darned good theater.
Some supporting roles deserve mention for either being good or not. Both Tom Forster and Roman Zhurbin were overpowering brutes as The High Brahmin, but Forster nearly stole the show in Act I from the sheer force and expansiveness of his mime. Great as he was, we would rather have seen him as Solor, and we all know that we should have seen it this year.
The Bronze Idols, Arron Scott and Joseph Gorak, gave good tries, but nobody seems to understand this role the way Renvall and Corella did. We’ve often wondered whether Luis Ribagorda might be able to bring back the role’s original intent. It takes a special type of dancer who knows how to harness and release energy in staccato increments.
Several of the Shade soloists turned in very pleasant performances, most notably Catherine Hurlin and Anabel Katsnelson. We continue to be alarmed by what ABT is allowing April Giangeruso to present as a classical developpe that bears little relationship to academic form. The hiking of the hip, scrunching and rolling of the torso, lack of turn out, and hideous shoulder placement — all in the name of getting the leg to the ear and crushing the tutu against the body is plain and simply unattractive if not ugly.
Now, about the Shades. Oh my goodness. What is going on here? Is it that ABT’s daily classes don’t include practicing developpe during center work while wearing pointe shoes? Seems they may not. Seems that they may not practice arabesques either.
For many years ABT’s Shades use to come down the ramp by stepping forward with a tendu to the floor to steady their balance before raising the leg to arabesque. That memory is clear as vodka. Now, it seems the corps is trying to do this section the grown-up way of the Mariinsky and Paris Opera Ballet who step forward and immediately raise the back leg to arabesque without the benefit of a steadying tendu. Nearly everyone was having trouble, and those who were not having trouble were lifting the arabesques at different speeds. While we applaud Natalia Makarova for trying to make these dancers grow up, it’s a lost cause when they don’t have the discipline instilled by rigorous classes where developpes in center while wearing pointe shoes are a common feature. But there is hope: Madam Makarova’s original Gamzatti of 38 years ago can eventually fix this embarrassing problem all by herself, because she now runs the JKO school. The students who land jobs in the corps don't need misplaced extensions to the ear; they need to be able to stand still on the supporting leg when developping to the side or when lifting an arabesque. There are no excuses for what we are seeing from the corps of Shades. Priorities of fundamental classical technique seem to have gone awry at ABT.
Sorry to have to end on such a sour note when in fact we were thrilled with so much that we saw in both performances. Our H.H. Pump Bump Award, Guiseppe Zanotti's Cruel Wings, is bestowed upon Sarah Lane for her glistening, fresh, and soul-baring debut as Nikiya.
36 responses to “ABT 5/30 matinee & evening
La Bayadere – the long and the short of it”
In the Act II PDD between Sarah and Herman, my husband leaned over to me and asked if these two were dancing Swan Lake – I had to reply, “sadly not”. That PDD gave such a glimpse of what could be, and I think Sarah’s Odette would break my heart.
I thought Cate Hurlin was a standout in the evening performance – I’d love to see her cast as Myrta.
Thanks as always Haglund for the great review! I’ve been refreshing the home page since yesterday afternoon.
In the Act II PDD between Sarah and Herman, my husband leaned over to me and asked if these two were dancing Swan Lake – I had to reply, “sadly not”. That PDD gave such a glimpse of what could be, and I think Sarah’s Odette would break my heart.
I thought Cate Hurlin was a standout in the evening performance – I’d love to see her cast as Myrta.
Thanks as always Haglund for the great review! I’ve been refreshing the home page since yesterday afternoon.
I thought Lane was beautiful in this ballet. She should have been given a second performance to iron out the kinks. She does have great chemistry with Cornejo. It is too bad they keep them separated more often than not. All Lane needs now is a bit of showmanship that Cornejo shows in spades. That depends on stage opportunities and responsibilities. I think it reflects well on her that she does so wonderful when thrown into big roles with barely any guidance.
If ABT is determined to do new ballets, they should save it for the fall season. Spring Season should be saved for big classical productions. They could schedule more performances of the most popular ballets, including 2 performances for the principals, a few debuts and even a guest artist. They also have to take people out of ballets that they are not suited to dance or cannot dance.
I thought Lane was beautiful in this ballet. She should have been given a second performance to iron out the kinks. She does have great chemistry with Cornejo. It is too bad they keep them separated more often than not. All Lane needs now is a bit of showmanship that Cornejo shows in spades. That depends on stage opportunities and responsibilities. I think it reflects well on her that she does so wonderful when thrown into big roles with barely any guidance.
If ABT is determined to do new ballets, they should save it for the fall season. Spring Season should be saved for big classical productions. They could schedule more performances of the most popular ballets, including 2 performances for the principals, a few debuts and even a guest artist. They also have to take people out of ballets that they are not suited to dance or cannot dance.
Folks, the problems at ABT are not going to be cured without booting McKenzie and eradicating the dullness that he has infused within the dancers. He casts based on his political leanings rather than using the best dancers and has never seen the damage that his misjudgements have caused. He has former dancers who never came close to dancing a principal role because they were incapable of it “coaching” the current principals. He is desperately trying to create some kind of legacy for himself and doesn’t realize that he is so disrespected and despised that every minute he stays causes someone else not to buy a ticket to a performance.
If the ABT board wants to see a big improvement in the dancing and the world’s interest in the company, it needs to clean out the artistic management and install someone like Bocca, Corella, or Beloserkovsky & Dvorovenko. McKenzie will always blame somebody else for ABT’s problems, but he is clearly responsible for creating them and needs to be booted out the door.
Folks, the problems at ABT are not going to be cured without booting McKenzie and eradicating the dullness that he has infused within the dancers. He casts based on his political leanings rather than using the best dancers and has never seen the damage that his misjudgements have caused. He has former dancers who never came close to dancing a principal role because they were incapable of it “coaching” the current principals. He is desperately trying to create some kind of legacy for himself and doesn’t realize that he is so disrespected and despised that every minute he stays causes someone else not to buy a ticket to a performance.
If the ABT board wants to see a big improvement in the dancing and the world’s interest in the company, it needs to clean out the artistic management and install someone like Bocca, Corella, or Beloserkovsky & Dvorovenko. McKenzie will always blame somebody else for ABT’s problems, but he is clearly responsible for creating them and needs to be booted out the door.
I also saw Lane/Cornejo/Brandt. I hope Lane gets more chances to work on this role. She has earned this role many seasons ago.
When Nikiya sees Solor and Gamzatti sitting together, the look of heartbreak on Lane’s face felt so real and still stays with me. What an actress. Her dancing was beautiful as always. Her chemistry with Cornejo is beautiful to watch.
I found a documentary on the Ballet Russes de Monte Carlo on YouTube. McKenzie seems determined to be take the same route as Serge Denham towards the end. He continues his failing crusade to sell unqualified dancers as major ballerinas, which just makes the rep feel stale. New ballets or old war horses, it’s hopeless with Copeland and Boylston getting so many performances.
I also saw Lane/Cornejo/Brandt. I hope Lane gets more chances to work on this role. She has earned this role many seasons ago.
When Nikiya sees Solor and Gamzatti sitting together, the look of heartbreak on Lane’s face felt so real and still stays with me. What an actress. Her dancing was beautiful as always. Her chemistry with Cornejo is beautiful to watch.
I found a documentary on the Ballet Russes de Monte Carlo on YouTube. McKenzie seems determined to be take the same route as Serge Denham towards the end. He continues his failing crusade to sell unqualified dancers as major ballerinas, which just makes the rep feel stale. New ballets or old war horses, it’s hopeless with Copeland and Boylston getting so many performances.
This was a wonderful debut for Sarah and Skylar. I enjoy both of their partnerships with Herman. Sarah was particularly lovely. She and Herman have such amazing chemistry. They are definitely my favorite duo at ABT. Sarah said on Instagram that she never thought she’d actually get to dance Nikiya. It’s absurd that it has taken this long and only a single performance at that. At stage door, Sarah said rather wistfully that she wished she could have had a second performance. As do we all…
This was a wonderful debut for Sarah and Skylar. I enjoy both of their partnerships with Herman. Sarah was particularly lovely. She and Herman have such amazing chemistry. They are definitely my favorite duo at ABT. Sarah said on Instagram that she never thought she’d actually get to dance Nikiya. It’s absurd that it has taken this long and only a single performance at that. At stage door, Sarah said rather wistfully that she wished she could have had a second performance. As do we all…
Found your critique site by accident. Lovely to read intelligent, informed thoughts and opinions. Have a special interest in Miss Lane as the bulk of her classical schooling took place at the Draper Center 75 miles due east across the I-90 here in upstate WNY, along with another former ABT ensemble member/soloist who trained there also (namely Kristi Boone). Absolutely thrilled with Miss Lane’s well received debuts in the touchstone classical roles, proving she may be tiny but she is mighty.
Found your critique site by accident. Lovely to read intelligent, informed thoughts and opinions. Have a special interest in Miss Lane as the bulk of her classical schooling took place at the Draper Center 75 miles due east across the I-90 here in upstate WNY, along with another former ABT ensemble member/soloist who trained there also (namely Kristi Boone). Absolutely thrilled with Miss Lane’s well received debuts in the touchstone classical roles, proving she may be tiny but she is mighty.
Greetings, Haglund. Right on target, as always. I was at the Wednesday matinee and felt that Teuscher at least will deepen as an interpreter and for the moment the quality of the dancing was enough to let the rest go. For me, the stunner was Shevchenko’s Gamzatti, incarnated with the conviction and security and daring of a prima ballerina. I don’t know why only once this season is such a turn permitted the New York audience. She’s beyond the nova stage: She’s a star.
Greetings, Haglund. Right on target, as always. I was at the Wednesday matinee and felt that Teuscher at least will deepen as an interpreter and for the moment the quality of the dancing was enough to let the rest go. For me, the stunner was Shevchenko’s Gamzatti, incarnated with the conviction and security and daring of a prima ballerina. I don’t know why only once this season is such a turn permitted the New York audience. She’s beyond the nova stage: She’s a star.
Why on earth are Lane & Shevchenko getting designated to Shade duty? McKenzie is the worst.
Why on earth are Lane & Shevchenko getting designated to Shade duty? McKenzie is the worst.
Hi, Haglund. It was a great debut, and I just wish she had been given a second performance opportunity to settle into the role. I, too, had wondered if Lane was trying to set up those Tereshkina balances, so I’m glad to have it confirmed by your observations. I guess the good thing is that it’s a feat that can be abandoned without it looking like a mistake. I WOULD love to see her do them, though.
Hi, Haglund. It was a great debut, and I just wish she had been given a second performance opportunity to settle into the role. I, too, had wondered if Lane was trying to set up those Tereshkina balances, so I’m glad to have it confirmed by your observations. I guess the good thing is that it’s a feat that can be abandoned without it looking like a mistake. I WOULD love to see her do them, though.
Hi Haglund. I’m kind of new yo ballet, I don’t understand certain things. I really like Sarah and Herman, they are my favorite partnership. I would like to ask why Sarah keeps being cast in corps de ballet roles? And also why Gillian Murphy isnt cast as Nikiya and always gets Gamzatti? Has she ever been cast as Nikiya at ABT? Thank you very much for your reviews.
Hi Haglund. I’m kind of new yo ballet, I don’t understand certain things. I really like Sarah and Herman, they are my favorite partnership. I would like to ask why Sarah keeps being cast in corps de ballet roles? And also why Gillian Murphy isnt cast as Nikiya and always gets Gamzatti? Has she ever been cast as Nikiya at ABT? Thank you very much for your reviews.
Hi, Paula.
Sarah no longer gets cast in corps de ballet roles. Now that she is a principal, she may be cast in soloist roles such as a soloist Shade in La Bayadere as needed. A dancer who is a soloist may be cast in corps roles as needed. This type of casting flexibility is specified in the general AGMA contract. Sarah has, however, been pitching in to help with more soloist roles than any of the other principals. So it does seem that ABT’s management may be exploiting her good nature while over-serving lesser dancers, such as Misty Copeland and Isabella Boylston, with more principal dancing opportunities.
Gillian has danced both Nikiya and Gamzatti over the years as has Hee Seo. Irina Dvorovenko excelled brilliantly in both roles when she danced with ABT.
Hi, Paula.
Sarah no longer gets cast in corps de ballet roles. Now that she is a principal, she may be cast in soloist roles such as a soloist Shade in La Bayadere as needed. A dancer who is a soloist may be cast in corps roles as needed. This type of casting flexibility is specified in the general AGMA contract. Sarah has, however, been pitching in to help with more soloist roles than any of the other principals. So it does seem that ABT’s management may be exploiting her good nature while over-serving lesser dancers, such as Misty Copeland and Isabella Boylston, with more principal dancing opportunities.
Gillian has danced both Nikiya and Gamzatti over the years as has Hee Seo. Irina Dvorovenko excelled brilliantly in both roles when she danced with ABT.
Lane is definitely being exploited. They think since she’s been the company workhouse the last 10 years bumping her down to a Shade is no big deal. I still would love to see her leave ABT. One Giselle, Don Q, and Bayadere a year is not worth all the nonsense.
Lane is definitely being exploited. They think since she’s been the company workhouse the last 10 years bumping her down to a Shade is no big deal. I still would love to see her leave ABT. One Giselle, Don Q, and Bayadere a year is not worth all the nonsense.
Hi Haglund, I caught the Saturday June 2 matinee with Devon Teuscher – Nikiya // Joo Won Ahn – Solor // Cassandra Trenary – Gamzatti. As far as I’m concerned, Devon can do no wrong. Her quality of movement is exquisite. This was my first time seeing Bayadere live, and I suspect Devon has ruined any other Nikiyas for me.
Hi Haglund, I caught the Saturday June 2 matinee with Devon Teuscher – Nikiya // Joo Won Ahn – Solor // Cassandra Trenary – Gamzatti. As far as I’m concerned, Devon can do no wrong. Her quality of movement is exquisite. This was my first time seeing Bayadere live, and I suspect Devon has ruined any other Nikiyas for me.
I have the good fortune of seeing the Teuscher/Shevchenko casting here in Los Angeles July 15th. Relegating them to a Sunday Matinee instead of the Friday or Saturday evening performances seems like more ABT upper-MIS-management and a dis-service to the art form.
I have the good fortune of seeing the Teuscher/Shevchenko casting here in Los Angeles July 15th. Relegating them to a Sunday Matinee instead of the Friday or Saturday evening performances seems like more ABT upper-MIS-management and a dis-service to the art form.
Echoing Eulalia Johnson, above, I saw Shevchenko’s Gamzatti in the dress rehearsal, and was blown away by her combination of strong technique and dramatic authenticity/intensity. Based on her performance as Myrta in Giselle, and her depiction of Gamzatti, I, too, believe she is destined for greatness. I so much wish she were paired with a comparable partner in SL and DQ. I’ll probably skip those performances. How sad.
Echoing Eulalia Johnson, above, I saw Shevchenko’s Gamzatti in the dress rehearsal, and was blown away by her combination of strong technique and dramatic authenticity/intensity. Based on her performance as Myrta in Giselle, and her depiction of Gamzatti, I, too, believe she is destined for greatness. I so much wish she were paired with a comparable partner in SL and DQ. I’ll probably skip those performances. How sad.
Hey Haglund – any word on Cassandra Trenary’s performance? Her lines are just exquisite IMO . . . was her casting a last minute deal? Perhaps BryanP could comment . . . Thanks.
Hey Haglund – any word on Cassandra Trenary’s performance? Her lines are just exquisite IMO . . . was her casting a last minute deal? Perhaps BryanP could comment . . . Thanks.
No, Trenary was not a last minute cast. She was cast from the very beginning. If anything, I was surprised to see her on Saturday considering I didn’t see her on her shade assignment earlier that week, nor her Peasant Pas and Zulma assignments during Giselle week. From a technique standpoint, she was good. Solid Italian fouettes, not common at ABT. Her interpretation was more refined that Brandt’s, but she’s far from my favorite on this role. I tend to like a slightly, only slightly, bitchy Gamzatti. Then again, I seem to be in the minority in that I don’t think that Ms. Trenary can do no wrong. For instance, I liked, but didn’t love, her Aurora, but almost every comment I read online pretty much said that it was a home run. I didn’t dare stay for the evening performance, although I am curious as to how Boylston looked as Nikiya.
No, Trenary was not a last minute cast. She was cast from the very beginning. If anything, I was surprised to see her on Saturday considering I didn’t see her on her shade assignment earlier that week, nor her Peasant Pas and Zulma assignments during Giselle week. From a technique standpoint, she was good. Solid Italian fouettes, not common at ABT. Her interpretation was more refined that Brandt’s, but she’s far from my favorite on this role. I tend to like a slightly, only slightly, bitchy Gamzatti. Then again, I seem to be in the minority in that I don’t think that Ms. Trenary can do no wrong. For instance, I liked, but didn’t love, her Aurora, but almost every comment I read online pretty much said that it was a home run. I didn’t dare stay for the evening performance, although I am curious as to how Boylston looked as Nikiya.
Hi Collbran, I got my tickets about two months ago, and the casting was set at least that long ago. Cassandra was great! I agree with Allisa, her Italian fouettes were quite solid.
Hi Collbran, I got my tickets about two months ago, and the casting was set at least that long ago. Cassandra was great! I agree with Allisa, her Italian fouettes were quite solid.