Lots of brave dancing on display at the opening performance of ABT’s Le Corsaire. It wasn’t on the level of the courageous dancing that we remember from the Noche Latina evenings of a long time ago when the grand old man of the cast, Julio Bocca, came flying out of the back corner of the stage and threw a flying triple tour assemble with the kick of a winning World Cup goal. Argentina didn’t win that year, 2006, but maybe they would have if they’d enlisted Bocca, Corella, Carreno, both Cornejos, Herrera and Reyes. What a time that was, oh lordy…
Still, the levels were pretty high last night. The highlight of the evening was the gleaming, polished elegance of Skylar Brandt’s Medora and Sarah Lane’s Gulnare who were at once distinctive and complementary.
With her fabulous face that is readable far out into the theater, Skylar created humor by overplaying the seriousness of her character’s predicaments. But it was her dancing that astonished. At this moment in time, Skylar is the prima ballerina of ABT whether she’s accorded the title of principal or not. Simply put — in terms of technical levels, musicality, classical form, reliability, and theatricality — she is on top. Last night, there were a multitude of details in her dancing that reminded us of Irina Dvorovenko, who assists her with role preparation these days and who probably got most of her own details from Irina Kolpakova. The held positions in balances, the lowered arms that heightened the torso, the turn of the face and opened expression, all of it reflected brilliantly through the polish of an uncompromising academic correctness. These days, every time Haglund sees Skylar dance, it makes him treasure Dvorovenko all the more.
Sarah Lane’s Gulnare was all soft beauty and refinement reinforced with a steely structure of squareness that enabled her to hold balances for an unusually long time and turn with supreme stability. And she always looks stunning in that yellow tutu. She and Blaine Hoven (Lankendem) produced some glorious, airy dancing in their PdD. He lifted her high; she took the opportunity to luxuriate in her beautiful positions. Blaine’s partnering was flawless, as we’ve come to expect, and his grand allegro was handsome with a nobility that one doesn’t usually observe in this character. But there was something wrong with the pirouettes last night. His first set of pirouettes were supposed to open to second position, but instead petered out and closed in fourth. The problem was either that the music was too slow or that Blaine didn’t want to turn fast enough to commit to an extra revolution before extending the leg to the side. It just wasn’t right. There was a tendency — also with Arron Scott’s Birbanto –– to drop character as soon as it was time to prepare for a pirouette and concentrate on classroom technique. Come on, guys, don’t drop character to prepare for a pirouette.
Somebody who never drops character to prepare for a pirouette because he never can get to them fast enough is Daniil Simkin who was our spectacular Ali for the evening. Here was some courageous dancing – he added so many bells and whistles to the Act II variation that it was like fire engines, the Salvation Army, and the circus all coming together at one time. Even though Skylar and Sarah were the highlight as stated above, Daniil is the one who is prompting Haglund to buy tickets to another couple of shows to see him try to pull off that manege of flying triple turns. Oh my goodness, were those a pleasure to watch. They didn’t end as he intended but he didn’t bail on them and start doing pique turns either. His spectacular surprise of multiple pirouettes that ended with spread eagle arms and backbend not only had the crowd screaming but also laughing in utter disbelief. Good show from this guy!
Brooklyn Mack was a guest artist that ABT brought in for a few performances, and he ended up subbing for an injured Herman Cornejo on opening night. Mack was a secure partner for Skylar and offered many huge jumps, but there was an unpolished roughness and heaviness to his dancing that wasn’t even right for the rough pirate, Conrad. While we can understand why he might have wanted to try as hard as possible to jump as high as possible, the sickled feet at the end of not quite stretched legs were not pleasing to see. Mack's expression wasn’t blank as in the past, but he did not convey the exaggeration in the role of Conrad that all of the characters in this ballet need in order to make the comedy work. It’s just so hard to understand why this guest was brought in instead of giving Tom Forster an opportunity to dance a role that he was born to dance. He possesses so much power and beautiful technique, great feet, charisma, comedic timing, and he can run a string of pearls through his teeth in a way you’ll remember until you die – and maybe later, but that's in another ballet.
Roman Zhurbin was a deliciously disruptive Pasha, even more silly than in past years. It’s hard to believe that there are still a few morons out there who think that the portrayal of this character is somehow racist or anti-whatever and that the caricature of him is improper. Geeze Louise, a pasha is a political figure, not a religious figure — and what, pray tell, is more American than making fun of political figures?
The Odalisques were a mixed bag with only Melanie Hamrick acquitting herself with the expected success. Her feet were absolutely gorgeous and attached to scrupulously lined legs. There is a harmony between what is going on below the tutu and what is going on above it that is lovely to watch. Zhong-Jing Fang was in her own world musically, nearly missing the beginning of the trio’s first diagonal pass because she was luxuriating in stretching her neck and head. Throughout her variation her mouth was going like she was chewing gum. There is so much potential that could be realized in Fang if she would just stick with the choreography and stop adding stuff. Catherine Hurlin showed considerable courage in her turning variation, but didn’t quite pull off those triple turns. We’re confident that we will see them eventually, but just not last night.
While there was plenty of bravery on display last night, unfortunately ABT chose the coward’s way in pimping itself out to the Woke Set by altering sections of choreography of a 20+ year old prized production because of publicity sympathetic to those few who constantly engage in hypervigilance and self-victimizing. This is the same ABT that not long ago had a white man fiercely bouncing a black woman's tits on stage in a Liam Scarlett dance and then had its longtime supporter and sometime board member Susan Fales Hill tell the press that it was a wonderful ballet with real life maturity, and there was nothing wrong with that.
That said – the choreographer/owner of this Le Corsaire production is still alive, and she has every right to change her work. Unfortunately, the changes made (whipless slavemasters, removal of a prayer scene) didn’t enhance the production and looked like patchwork or simply omitted choreography. But as we said, it is the choreographer’s freedom to make those changes. It does lead down a slippery slope that sends ballet sliding head first into more people’s political agendas and Hokey-Wokey. Soon there will be calls in the NYT to alter MacMillan’s works to make them comfortable for the Woke Folk who never go to the ballet anyway. Gosh, what would happen if everyone decided that they couldn’t bear to read the NYT because original owner/publisher Adolph Ochs had a habit of squeezing women against the wall at the NYT office or that in 1917 the Times pined for the days when most blacks “admitted the superiority of the white race and troubles between the two races were unheard of.” We need to save the ballet from the Wokes who wear a scent of McCarthyism.
The H.H. Pump Bump Award is bestowed upon Skylar Brandt and Sarah Lane – oh, okay, and Daniil Simkin for their glistening and courageous dancing in the opening performance of Le Corsaire.
24 responses to “ABT 6/11 – The Pirates’ Gold in Le Corsaire”
Why in the world is Irina Dvorovenko not a ballet master at ABT?! Pay her whatever she wants, she’s worth it. Of course Skylar has worked very hard to achieve the level of dancing she is doing right now, but it’s not possible without an amazing coach.
Why in the world is Irina Dvorovenko not a ballet master at ABT?! Pay her whatever she wants, she’s worth it. Of course Skylar has worked very hard to achieve the level of dancing she is doing right now, but it’s not possible without an amazing coach.
Greetings, Haglund–Today’s matinee of Corsaire was loads of kitschy fun and the second act much more than that. Mack was a powerhouse of an Ali. His work may not be the last word in elegance but he flew ’round that stage like a torch burning testosterone and he set the audience on fire. For me, the surprise was Teuscher as Medora. She has always struck me as a skillful dancer but an antiseptic one. Today, one saw the character, not a ballerina dancing; the beauty of her work, her commitment and technical accomplishments in the service of an ideal were extremely moving. The feminine ethereality of her bedchamber scene with Conrad I will not soon forget. Charles Barker made the olla podrida of the Corsaire score into something thrilling and coherent. Bravi tutti.
Greetings, Haglund–Today’s matinee of Corsaire was loads of kitschy fun and the second act much more than that. Mack was a powerhouse of an Ali. His work may not be the last word in elegance but he flew ’round that stage like a torch burning testosterone and he set the audience on fire. For me, the surprise was Teuscher as Medora. She has always struck me as a skillful dancer but an antiseptic one. Today, one saw the character, not a ballerina dancing; the beauty of her work, her commitment and technical accomplishments in the service of an ideal were extremely moving. The feminine ethereality of her bedchamber scene with Conrad I will not soon forget. Charles Barker made the olla podrida of the Corsaire score into something thrilling and coherent. Bravi tutti.
I thought I could avoid Corsaire this season but you’ve convinced me to see this cast’s next outing! I’m a sucker for Daniil’s Ali, as are we all. Such a guilty pleasure!
I thought I could avoid Corsaire this season but you’ve convinced me to see this cast’s next outing! I’m a sucker for Daniil’s Ali, as are we all. Such a guilty pleasure!
Good decision.
Good decision.
Haglund,
Thanks for reminding me about the prayer scene. I kept thinking “Why are these pirates being called merchants? Aren’t they supposed to disguised as pilgrims wanting to pray at the Pasha’s mosque?” I went last night and this afternoon and there were small differences, but boy do they matter. Example: In the first brief scene this afternoon where the pirates are on the boat, all them were standing on the deck, including Brooklyn Mack whose feet were solidly planted. Contrast that to last night, where Simkin was halfway up the mast, leaning out over the boat and looking out at the sea as if he were just waiting for the chance to shout Land-Ho. My appreciation for Simkin has grown in the last few seasons as he really develops his characters; he’s not just a showboat any longer. Joo Won Ahn was a better Lankandem than Hoven; he did the deep plies that Hoven omitted and he displayed more character, I thought. I have 8 words for Brooklyn Mack: Dump Conrad, Ali is the role for you. Ribagorda was better a Birbanto than Scott; Scott was serviceable, Ribagorda had attitude. The 2nd Act bedroom pas with Medora and Conrad was gorgeous; I may have new respect for Stearns now. I’m going again tomorrow night, and it’s interesting: yesterday and today I was in Row A of the Grand Tier, tomorrow I am only in Row D. All the tickets were bought at the same time, so who is the draw tomorrow selling the tickets? Shevchenko?
Ellen
Haglund,
Thanks for reminding me about the prayer scene. I kept thinking “Why are these pirates being called merchants? Aren’t they supposed to disguised as pilgrims wanting to pray at the Pasha’s mosque?” I went last night and this afternoon and there were small differences, but boy do they matter. Example: In the first brief scene this afternoon where the pirates are on the boat, all them were standing on the deck, including Brooklyn Mack whose feet were solidly planted. Contrast that to last night, where Simkin was halfway up the mast, leaning out over the boat and looking out at the sea as if he were just waiting for the chance to shout Land-Ho. My appreciation for Simkin has grown in the last few seasons as he really develops his characters; he’s not just a showboat any longer. Joo Won Ahn was a better Lankandem than Hoven; he did the deep plies that Hoven omitted and he displayed more character, I thought. I have 8 words for Brooklyn Mack: Dump Conrad, Ali is the role for you. Ribagorda was better a Birbanto than Scott; Scott was serviceable, Ribagorda had attitude. The 2nd Act bedroom pas with Medora and Conrad was gorgeous; I may have new respect for Stearns now. I’m going again tomorrow night, and it’s interesting: yesterday and today I was in Row A of the Grand Tier, tomorrow I am only in Row D. All the tickets were bought at the same time, so who is the draw tomorrow selling the tickets? Shevchenko?
Ellen
Thanks, Ellen.
The leads this afternoon were probably better able to find their theatrical motivations in the bedroom scene…
I think you will enjoy Shevchenko quite a bit tomorrow. She was fabulous upon her debut a couple of years ago.
Thanks, Ellen.
The leads this afternoon were probably better able to find their theatrical motivations in the bedroom scene…
I think you will enjoy Shevchenko quite a bit tomorrow. She was fabulous upon her debut a couple of years ago.
Hi Haglund,
I just saw on the abt website that Daniil Simkin has been replaced for all of his remaining Ali performances, including tonight. An insert in tonight’s program says that he is injured. I am shocked, as he seemed in top form on Tuesday night. I also can’t recall a past injury in recent years. I hope Daniil recovers in time for his Manon shows next week and his Swan Lake. I wonder who would replace him if he’s still injured. Probably Whiteside for Swan Lake. But with Herman and now daniil both injured for corsaire, I can’t help but think about ABT’s diminished principal men. Bolle is retiring and Hallberg and Simkin are part time. That just leaves Cornejo, Stearns and Whiteside. ABT needs to bulk up their roster. Can’t believe management let this happen.
Hi Haglund,
I just saw on the abt website that Daniil Simkin has been replaced for all of his remaining Ali performances, including tonight. An insert in tonight’s program says that he is injured. I am shocked, as he seemed in top form on Tuesday night. I also can’t recall a past injury in recent years. I hope Daniil recovers in time for his Manon shows next week and his Swan Lake. I wonder who would replace him if he’s still injured. Probably Whiteside for Swan Lake. But with Herman and now daniil both injured for corsaire, I can’t help but think about ABT’s diminished principal men. Bolle is retiring and Hallberg and Simkin are part time. That just leaves Cornejo, Stearns and Whiteside. ABT needs to bulk up their roster. Can’t believe management let this happen.
Hi, Lena. I’d also like to be able to say that I “can’t believe management let this happen” but I’ve been watching ABT far too long not to expect this. McKenzie’s perpetual dismissive attitude toward the talent in the ranks, most notably these days, Forster and Hoven, has led ABT precisely where it stands today. Nobody but McKenzie can be blamed. Every decision that McKenzie has made has led the company to its sad state today which is now beginning to look intentional so that he can have an excuse to go out and hire guest artists.
Hi, Lena. I’d also like to be able to say that I “can’t believe management let this happen” but I’ve been watching ABT far too long not to expect this. McKenzie’s perpetual dismissive attitude toward the talent in the ranks, most notably these days, Forster and Hoven, has led ABT precisely where it stands today. Nobody but McKenzie can be blamed. Every decision that McKenzie has made has led the company to its sad state today which is now beginning to look intentional so that he can have an excuse to go out and hire guest artists.
Having seen Le Corsaire with La Scala last year where the dancer who danced Ali was exceptional, would have loved to have seen this cast at ABT ( problematic 19th century themes aside) after watching all the videos of these dancers killing it on Instagram. Thank you for the review?
Have you seen Skylar’s recent video practicing Black Swan variation pirouettes? I would set up trips back to the US if she got a SL.
https://www.instagram.com/p/Bytm1ebHBlb/?igshid=1e3oxx345xmf6
Having seen Le Corsaire with La Scala last year where the dancer who danced Ali was exceptional, would have loved to have seen this cast at ABT ( problematic 19th century themes aside) after watching all the videos of these dancers killing it on Instagram. Thank you for the review?
Have you seen Skylar’s recent video practicing Black Swan variation pirouettes? I would set up trips back to the US if she got a SL.
https://www.instagram.com/p/Bytm1ebHBlb/?igshid=1e3oxx345xmf6
Just amazing.
Just amazing.
I saw Corsaire on Thursday night, with Daniil Simpkin unfortunately injured and unable to play Ali, although he has some pretty incredible Instagram videos of his variation. Aran Bell as Lankendem was phenomenal; he’s making a very good impression for someone so young. He reminds me a lot of Daniil, which made up in part for the former’s absence. Shevchenko, Cassandra Trenary, and Gabe Stone Shayer were all delightfully energetic and suited their parts.
One interesting tidbit was the disclaimer they put in the program, which reflected on the way in which the “19th century themes” that might be too much for our modern sensibilities were present in the ballet, and how they had altered the choreography to try to account for this. This completely misses the point. The issue with Le Corsaire is not that it depicts slavery and the subjugation of women; the issue is that it uses these themes to make a racist critique of a nebulously defined “Orient” filled with brutal despots and sensual slave-girls. While I don’t think there is any racist intent behind ABT’s depiction of the Pasha, I do think it’s essential to note the way in which the portrayal of him, the odalisques, the slave market, and many other aspects of the ballet feeds into a racist Orientalist narrative that promoted and justified Imperialism. It’s clear to any fan of Ratmansky’s revivals that almost more often than not, a Russian ballet from the late 19th or early 20th century will include a similar overarching narrative. These ballets are some of the greatest ever and should undoubtedly still be performed despite their content, but ABT has to recognize the real issues at stake.
I saw Corsaire on Thursday night, with Daniil Simpkin unfortunately injured and unable to play Ali, although he has some pretty incredible Instagram videos of his variation. Aran Bell as Lankendem was phenomenal; he’s making a very good impression for someone so young. He reminds me a lot of Daniil, which made up in part for the former’s absence. Shevchenko, Cassandra Trenary, and Gabe Stone Shayer were all delightfully energetic and suited their parts.
One interesting tidbit was the disclaimer they put in the program, which reflected on the way in which the “19th century themes” that might be too much for our modern sensibilities were present in the ballet, and how they had altered the choreography to try to account for this. This completely misses the point. The issue with Le Corsaire is not that it depicts slavery and the subjugation of women; the issue is that it uses these themes to make a racist critique of a nebulously defined “Orient” filled with brutal despots and sensual slave-girls. While I don’t think there is any racist intent behind ABT’s depiction of the Pasha, I do think it’s essential to note the way in which the portrayal of him, the odalisques, the slave market, and many other aspects of the ballet feeds into a racist Orientalist narrative that promoted and justified Imperialism. It’s clear to any fan of Ratmansky’s revivals that almost more often than not, a Russian ballet from the late 19th or early 20th century will include a similar overarching narrative. These ballets are some of the greatest ever and should undoubtedly still be performed despite their content, but ABT has to recognize the real issues at stake.
Given that the definition of racism is prejudice, discrimination, or antagonism directed against someone of a different race based on the belief that one’s own race is superior– how does Le Corsaire further racist themes? The Pasha is a political figure, not a religious figure or racial figure. The Pasha is a Turk and the Turks are a mixture of West-Asian, Central Asian and European and originally were nomads from Caucasus, i.e., Caucasians.
Le Corsaire isn’t proposing to today’s audience that any certain way of thinking is correct or acceptable. All the viewer is being asked to do is to take a trip back in time to visit a time that is long gone — not adopt the past as the present.
Take a moment to read this perspective: https://www.nytimes.com/2019/01/08/books/review/edith-wharton-house-of-mirth-anti-semitism.html
Good grief. People have no problem seeing movies and plays, especially if they feature some over-hyped celebrity, that portray times in history that we would not wish to relive today because the customs offend us. People still go to the opera to hear lovely singing about adults intentionally drowning children.
We need to get a grip on the hypervigilance and self-victimizing.
Given that the definition of racism is prejudice, discrimination, or antagonism directed against someone of a different race based on the belief that one’s own race is superior– how does Le Corsaire further racist themes? The Pasha is a political figure, not a religious figure or racial figure. The Pasha is a Turk and the Turks are a mixture of West-Asian, Central Asian and European and originally were nomads from Caucasus, i.e., Caucasians.
Le Corsaire isn’t proposing to today’s audience that any certain way of thinking is correct or acceptable. All the viewer is being asked to do is to take a trip back in time to visit a time that is long gone — not adopt the past as the present.
Take a moment to read this perspective: https://www.nytimes.com/2019/01/08/books/review/edith-wharton-house-of-mirth-anti-semitism.html
Good grief. People have no problem seeing movies and plays, especially if they feature some over-hyped celebrity, that portray times in history that we would not wish to relive today because the customs offend us. People still go to the opera to hear lovely singing about adults intentionally drowning children.
We need to get a grip on the hypervigilance and self-victimizing.