Alexei Ratmansky’s The Golden Cockerel, which ABT premiered last night at the Met, was more like a good staging for the opera of the same title than a stand alone ballet. It lacked choreographic invention and relied heavily, too much so, on the brilliant Ballet Russes-worthy costumes and scenery by Richard Hudson. Frequently, the choreography seemed inserted obligatorily as is often seen in operas.
It was easy to admire the ideas behind the production, but truthfully, if this were on Broadway, it would close after a few preview performances. Producers would honestly read the paying audience’s tepid response, admit their failures, cut their losses, and move on to the next idea. Originally created by Ratmansky for the Royal Danish Ballet and not particularly successful there, The Golden Cockerel was reworked and pumped up with more dance for ABT.
Based on Pushkin’s fairytale and Michel Fokine’s original ballet, the story tells of a threatened Tsar who acquires a magic cockerel from a wizard/sorcerer/astrologer. The cockerel has the ability to crow when danger is close by. The Tsar is so grateful to the astrologer that he promises him anything that he wants. The astrologer decides to take time to think about what he wants in return for the cockerel. The Tsar rides off into battle, discovers an enticing queen of questionable motives, and takes her home to be his wife. The astrologer decides that he wants the queen as his payment from the Tsar. The Tsar refuses and bongs the astrologer with his sceptre seemingly killing him – but not really. The magic cockerel then returns to peck the Tsar to death for failing to honor his bargain with the astrologer. It’s a fairy tale with obvious political undertones relating to early 20th century Russia. The original opera was banned for a long time in Russia, in part, because it made the Tsar out to be a bumbling fool.
Ratmansky took some liberties with the story text in order to bring it around full circle. In a prelude, he showed the astrologer observing the flying queen and contemplating how he might go about capturing her. Everything that followed was apparently a “set-up” for the astrologer to acquire the queen, a set-up which ultimately failed him.
While we have learned to temper our expectations for Ratmansky’s new ABT works with the realism of the past, we could not resist hoping for an engaging production along the lines of the Massine/Picasso/Satie Parade which was originally created for the Ballet Russes and lovingly recreated by the City Center Joffrey Ballet during the last century. The star then, as was the star last night, was Gary Chryst who last evening returned to the stage for a remarkable performance in the character role of Tsar Doden.
Like Picasso's costumes and scenery in Parade, Hudson went for the fantastical in The Golden Cockerel. A huge wooden horse rearing on its hind legs was rolled to mid-stage for the Tsar to mount and ride into battle. Huge stick puppets traveled the width of the back of the stage. Panels hanging at the back of the stage and on the side depicted a brightly colored kingdom complete with flowers. Here’s the front curtain which greeted the audience members as they took their seats:
The corps de ballet’s costumes were operatic, traditional Russian folk costumes designed more for spectacle and less for dancing.
Skylar Brandt as the Golden Cockerel dispatched the most unique choreography of the evening with exceptional skill. Her bird’s halting mechanical movements made it clear that she was not a real bird at all, but a creation by the wizard/sorcerer/astrologer. Even though she had been gifted to the Tsar, her allegiance remained with her creator who always controlled her.
Cory Stearns scored a big win by completely disappearing into his astrologer character – hunched over under a black cape with his face made unrecognizable by prosthetics. His eyes glistened under the stage lights like they rarely do in his other roles. Evilness becomes him.
Veronika Part, as the Queen of questionable motives, acquired most of the classical dancing duties and conveyed her character with beautiful theatrical detailing. Unfortunately, her choreography could not rise above its dullness and cliched moments. (Must we see in every ballet a dancer sliding up from the floor while being held under the arms by two other dancers?)
Jeffrey Cirio and Joseph Gorak played the Tsar’s sons who end up killing each other in battle. When dancing their allegro side by side, Gorak’s character was clearly the most remarkable dancer of the two sons – whether Ratmansky intended to show that or not. Unfortunately, it appears this season that he is spending a lot of time on the back burner while McKenzie tries to push the imported dancer from Boston Ballet at us. Cirio isn’t bad, but his classicism pales in comparison to Gorak’s. And Cirio is too small to dance effectively with most of the company’s ballerinas.
Christine Shevchenko as the lead Persian woman made an impact with her brief appearance and vivid dancing.
Roman Zhurbin gave 150% to his character role of General Polkan who tried to advise Tsar Doden, but there wasn’t a lot for him to do.
Martine van Hamel as the Housekeeper to the Tsar tried to find comedy in her character but there wasn’t much available for her to work with – even Carol Burnett would have a problem with the role.
The dancing for the corps looked very familiar in places – Ratmansky defaulted back to ideas used in Bright Stream, Little Humpbacked Horse, etc. Even the opening scene with the Tsar’s chair/throne squarely in the middle of the stage seemed to recall the centered chair in the Little Humpbacked Horse.
It isn’t likely that ABT will have the discipline of a Broadway producer and cut its losses on this ballet, but it should. The Golden Cockerel, HereAfter, Pied Piper, Dorian, Tempest, Firebird, VIII — all were good ideas that couldn’t be realized at the time for one reason or another. Now that we’re reminded that Gary Chryst is still around, it would be a shame not to invite him to stage Massine’s Parade, particularly since he has a direct link to the choreographer. How wonderful it would be to see Chryst return regularly to character roles at ABT. What a wizard in Petrushka he would be to Arron Scott, Patrick Frenette and possibly Simkin in the title role.
The H.H. Pump Bump Award, hand painted by artists of Dolce and Gabbana, is bestowed upon Richard Hudson for his magical scenery and costumes. They don’t look like computer-drawn or photoshopped product. While we may have been fooled, they look like art ––honestly created like during the time of the Ballet Russes.
36 responses to “ABT 6/6 Company Premiere
The Golden Cockerel – Always keep your bargains”
Thank you for the review. I think I will sit this one out
Its interesting that the promotional material for this ballet pushes only Skylar Brandt and Cassandra Trenery but not a peep regarding Sarah Lane and Maria Kochetkova.
In regards to Cirio and the rest of the dancers that the AD favors, I’m at a loss. He must be blind. He must be Mr. Magoo.
Thank you for the review. I think I will sit this one out
Its interesting that the promotional material for this ballet pushes only Skylar Brandt and Cassandra Trenery but not a peep regarding Sarah Lane and Maria Kochetkova.
In regards to Cirio and the rest of the dancers that the AD favors, I’m at a loss. He must be blind. He must be Mr. Magoo.
This ABT season should be named the Ratmansky Ballet Company. As a long time subscriber (and former patron) I was hard pressed to find performances not danced by Copeland or “done” (Choregraphy is too strong a word) by Ratmansky. Friends and I are now supporters and subscribers to Pennsylvania Ballet. Kevin…WAKE UP!
This ABT season should be named the Ratmansky Ballet Company. As a long time subscriber (and former patron) I was hard pressed to find performances not danced by Copeland or “done” (Choregraphy is too strong a word) by Ratmansky. Friends and I are now supporters and subscribers to Pennsylvania Ballet. Kevin…WAKE UP!
How funny I was just thinking the same as SherryD, instead of ABT it should be RBT, either Ratmansky or Russian Ballet Company! Lord knows we have had our fill of Russian guests… As for melponeme_k comment, I too have wondered about the PR missing the other dancers, Lane on the short end of the stick again, and in SB too!! I do wonder if this is, yet again, what is discussed on another Haglund post about “board” donors and sponsors?! As good dancers as Brandt & Trenary may be, Lane has been sidelined all these years to see yet another year of being put on the back burner!! Another interesting thing, it seems Trenary is in most of the shows with Whiteside, and I have to wonder if this has anything to do with her involvement with his own interest: JbDubsMusic?
How funny I was just thinking the same as SherryD, instead of ABT it should be RBT, either Ratmansky or Russian Ballet Company! Lord knows we have had our fill of Russian guests… As for melponeme_k comment, I too have wondered about the PR missing the other dancers, Lane on the short end of the stick again, and in SB too!! I do wonder if this is, yet again, what is discussed on another Haglund post about “board” donors and sponsors?! As good dancers as Brandt & Trenary may be, Lane has been sidelined all these years to see yet another year of being put on the back burner!! Another interesting thing, it seems Trenary is in most of the shows with Whiteside, and I have to wonder if this has anything to do with her involvement with his own interest: JbDubsMusic?
To be honest, I think that the reason we got the Ratmansky Festival/overload at ABT this season was so that NYCB didn’t beat them to the punch with a Ratmansky Night of their own. How embarrassing would that have been for ABT to have their own Artist in Residence celebrated by NYCB before they got to him.
To be honest, I think that the reason we got the Ratmansky Festival/overload at ABT this season was so that NYCB didn’t beat them to the punch with a Ratmansky Night of their own. How embarrassing would that have been for ABT to have their own Artist in Residence celebrated by NYCB before they got to him.
Very interesting observation Haglund! Never thought of that and how true that may be, plus I’m sure their marketing would have done a far better job selling too!
I may be wrong but Martins also seem to nurture his company within better than what is going on at ABT, with less imports and more opportunities to show the rest of his company vs the selected few?!? Maybe he has less board involvement? Same goes for what I have seen of HB too!
Very interesting observation Haglund! Never thought of that and how true that may be, plus I’m sure their marketing would have done a far better job selling too!
I may be wrong but Martins also seem to nurture his company within better than what is going on at ABT, with less imports and more opportunities to show the rest of his company vs the selected few?!? Maybe he has less board involvement? Same goes for what I have seen of HB too!
A second view of this production last night confirmed the observations in my review above. Throughout much of the evening I was tempted to check my email.
Stella Abrera as the Queen had a livelier pace and more articulation than Veronika the night before whose strong point was her theatrical detailing of the dull choreography. Cassandra Trenary was also very, very good, but her Cockerel was a little less mechanical than Skylar’s the night before.
In short, the production needs an editor/distiller to tighten/shorten the ballet and remove Ratmansky’s default choreography that he uses way too much.
A second view of this production last night confirmed the observations in my review above. Throughout much of the evening I was tempted to check my email.
Stella Abrera as the Queen had a livelier pace and more articulation than Veronika the night before whose strong point was her theatrical detailing of the dull choreography. Cassandra Trenary was also very, very good, but her Cockerel was a little less mechanical than Skylar’s the night before.
In short, the production needs an editor/distiller to tighten/shorten the ballet and remove Ratmansky’s default choreography that he uses way too much.
ABT would have reason to worry if NYCB celebrated Ratmansky—the works he created for them are much better, in fact my favorite of his oeuvre.
In second place would be earlier Bolshoi works like Bolt and The Bright Stream. It could be that both these companies have strong identities for him to mine and reflect, while ABT doesn’t. Not sure why his early mastery of story ballets has never been in evidence at ABT.
I started as his fan but the bloom is off the rose. The worst clunker I saw from him was From Foreign Lands for SFB. It didn’t come off as an updated homage to 19C character dancing, but a pedestrian chestnut. It made Wheeldon’s From the Golden Hour look like a million bucks; my uninitiated friends loved that and merely endured the fusty Ratmansky.
ABT would have reason to worry if NYCB celebrated Ratmansky—the works he created for them are much better, in fact my favorite of his oeuvre.
In second place would be earlier Bolshoi works like Bolt and The Bright Stream. It could be that both these companies have strong identities for him to mine and reflect, while ABT doesn’t. Not sure why his early mastery of story ballets has never been in evidence at ABT.
I started as his fan but the bloom is off the rose. The worst clunker I saw from him was From Foreign Lands for SFB. It didn’t come off as an updated homage to 19C character dancing, but a pedestrian chestnut. It made Wheeldon’s From the Golden Hour look like a million bucks; my uninitiated friends loved that and merely endured the fusty Ratmansky.
Annie H.,
Part of the problem may be that he is simply too busy with too many commissions to do his best work. Despite the less than happy results this season at ABT (Symposium & Cockerel), I’m very much looking forward to whatever he comes up with for NYCB next season.
Annie H.,
Part of the problem may be that he is simply too busy with too many commissions to do his best work. Despite the less than happy results this season at ABT (Symposium & Cockerel), I’m very much looking forward to whatever he comes up with for NYCB next season.
I was happy last night to sit through all the repetitive pageantry for the singular opportunity to see Stella dance the role of the Queen of Shemakhan. She was so extraordinary in that role, both in her persuasive acting and her exquisite dancing. When will we have another chance to see Stella being seductive and teasing to such a degree? Her big, beautiful eyes projected across the footlights (admittedly I was in Row B Orchestra but I’ll bet they could be seen in the Family Circle) and when she batted her eyelashes and beckoned with an outstretched finger, what Tsar wouldn’t swoon with delight? Her dancing was utterly ravishing, and the plasticity of her body and arms created long, extended, gorgeous patterns in the air such as I’ve never seen before. I’ve been a fan of Stella for over 10 years and I’m beyond thrilled that she’s being given the chance not only to dance the classics but also to strut her spectacular stuff.
I was happy last night to sit through all the repetitive pageantry for the singular opportunity to see Stella dance the role of the Queen of Shemakhan. She was so extraordinary in that role, both in her persuasive acting and her exquisite dancing. When will we have another chance to see Stella being seductive and teasing to such a degree? Her big, beautiful eyes projected across the footlights (admittedly I was in Row B Orchestra but I’ll bet they could be seen in the Family Circle) and when she batted her eyelashes and beckoned with an outstretched finger, what Tsar wouldn’t swoon with delight? Her dancing was utterly ravishing, and the plasticity of her body and arms created long, extended, gorgeous patterns in the air such as I’ve never seen before. I’ve been a fan of Stella for over 10 years and I’m beyond thrilled that she’s being given the chance not only to dance the classics but also to strut her spectacular stuff.
Hear, hear!
Hear, hear!
Since this is mentioned, I have to ask the question about the issue of “too many commissions”! I am not familiar with how contracts work and excuse my ignorance to ask, but if Ratmansky has a contract as “the Resident Artistic” for ABT, shouldn’t he put his best efforts and energy there? Or perhaps it is the AD who handle is work best and in this case Martins may be doing a better job!
Since this is mentioned, I have to ask the question about the issue of “too many commissions”! I am not familiar with how contracts work and excuse my ignorance to ask, but if Ratmansky has a contract as “the Resident Artistic” for ABT, shouldn’t he put his best efforts and energy there? Or perhaps it is the AD who handle is work best and in this case Martins may be doing a better job!
H.F.,
It was reported by the NYT subsequent to the appointment, that one reason Ratmansky didn’t hook up with NYCB was that Martins wanted him on site more than he wanted, and that Ratmansky wanted more freedom to make and set his works for other companies. In retrospect, yes, I would say that Martins knew what he was doing. Even without Ratmansky there in some official capacity, Martins is still getting the choreographer’s best work.
H.F.,
It was reported by the NYT subsequent to the appointment, that one reason Ratmansky didn’t hook up with NYCB was that Martins wanted him on site more than he wanted, and that Ratmansky wanted more freedom to make and set his works for other companies. In retrospect, yes, I would say that Martins knew what he was doing. Even without Ratmansky there in some official capacity, Martins is still getting the choreographer’s best work.
The Royal Danish Ballet performed this piece a few years ago when I was in Copenhagen. I hated it. No dancing.
Around the same time, Ratmansky was appearing at Works in Process and never mentioned this work. Hmm…
You are the first reviewer that has accurately evaluated “The Golden Cockerel”
The Royal Danish Ballet performed this piece a few years ago when I was in Copenhagen. I hated it. No dancing.
Around the same time, Ratmansky was appearing at Works in Process and never mentioned this work. Hmm…
You are the first reviewer that has accurately evaluated “The Golden Cockerel”
Thank you, Michael.
Thank you, Michael.
Thank you for the insight Haglund since I missed the NYT mention, good for Martins indeed as a good director! Maybe ABT should learn something from him?!
Thank you for the insight Haglund since I missed the NYT mention, good for Martins indeed as a good director! Maybe ABT should learn something from him?!
Hi Haglund,
I went to Friday night’s performance with Stella as the Queen of Shemakhan. I really wanted to like this ballet, but unfortunately, it just wasn’t my cup of tea—mainly because there’s very little dancing (I can’t imagine what the original version was like before Ratmansky added more dance steps!). I saw three people walk out before the end of the performance, but surprisingly, most of the audience seemed to enjoy it. I heard a lot of positive comments from the people around me, and the Met was pretty full. The scenery is gorgeous—the best thing about the production. Also, I agree with Angelica that Stella was extraordinary!! If you missed Stella in this production, then you missed something special. I’m glad I saw The Golden Cockerel, and I applaud ABT for trying something different. But once was enough for me.
Hi Haglund,
I went to Friday night’s performance with Stella as the Queen of Shemakhan. I really wanted to like this ballet, but unfortunately, it just wasn’t my cup of tea—mainly because there’s very little dancing (I can’t imagine what the original version was like before Ratmansky added more dance steps!). I saw three people walk out before the end of the performance, but surprisingly, most of the audience seemed to enjoy it. I heard a lot of positive comments from the people around me, and the Met was pretty full. The scenery is gorgeous—the best thing about the production. Also, I agree with Angelica that Stella was extraordinary!! If you missed Stella in this production, then you missed something special. I’m glad I saw The Golden Cockerel, and I applaud ABT for trying something different. But once was enough for me.
I was also at the Friday performance. I thought that the ballet was awful (Stella’s luscious performance of lackluster choreography excepted), and felt sorry for all the hardworking dancers in it. There were a few people around me who were speaking of enjoying it, specifically citing the production design, Stella and Victor Barbee (who I thought had been rather unfortunately costumed to look like the Burger King). However, far more clapped mechanically and briefly, then traded glances around them at both intermission and the close as if to (or actually) ask “What the hell was that?” Never again.
I was also at the Friday performance. I thought that the ballet was awful (Stella’s luscious performance of lackluster choreography excepted), and felt sorry for all the hardworking dancers in it. There were a few people around me who were speaking of enjoying it, specifically citing the production design, Stella and Victor Barbee (who I thought had been rather unfortunately costumed to look like the Burger King). However, far more clapped mechanically and briefly, then traded glances around them at both intermission and the close as if to (or actually) ask “What the hell was that?” Never again.
Not a fan of this genre of ballet. Not sure why ABT wasted money on a ballet that so few people would find watchable. I certainly wouldn’t buy a ticket for it. Also not a fan of costumes and scenery used as a distraction or in place of actually ballet dancing. But I guess that’s why I favor Balanchine so much.
Not a fan of this genre of ballet. Not sure why ABT wasted money on a ballet that so few people would find watchable. I certainly wouldn’t buy a ticket for it. Also not a fan of costumes and scenery used as a distraction or in place of actually ballet dancing. But I guess that’s why I favor Balanchine so much.