The world was coming apart at its seams in October 1942 when Agnes DeMille created her ballet Rodeo. She found a way to tap into what could make America feel good about itself: its Western heritage, the wide open spaces of the West, enjoying a simple square dance, a story about a gal finding her dream guy. DeMille also tapped into the country's decades-long passionate affair with the cowboy and his horse. Kids dreamed of riding their own ponies fast on the prairie and they held on to those dreams through the Depression and years beyond:
De Mille whipped the crowds into a frenzy at the Met Opera House in 1942 when she premiered Rodeo with its cowboy/tomboy/cowgirl horseplay. Her Champion Roper, the aw-shucks cowboy who was in love with the Cowgirl but couldn't get her serious attention was Frederic Franklin. Mr. Franklin was the honored guest at tonight's revival of Rodeo at New York's City Center Theater where his original role was danced by Sascha Radetsky and DeMille's Cowgirl was danced by Xiomara Reyes. Their performance gave us a reason to celebrate and also saved the less-than-special gala evening. Both dancers used every last blessed step, glance, and hesitation to convey the story.
Xiomara was brilliant as the hopeless, uncoordinated cowgirl who just couldn't compete with the other town girls in frills who were catching the eye of the Head Wrangler — the object of her own affection. Her focus on the Head Wrangler, danced perfectly in character by Jared Matthews, kept her from realizing that her perfect guy, the Champion Roper, was right in front of her eyes.
Radetsky was superb as the Champion Roper, clearly conveying perplexity at his inability to attract the cowgirl while maintaining complete confidence that he would eventually win her. His impressive tap dance routine could have turned into just another showy routine, but instead, every tap conveyed his effort to impress the cowgirl. A combination of great dancing, confidence, and modesty will always win the girl.
Some of the cowhands looked Strangely balletic, with a capital S, particularly when trying to jump and lasso at the same time. Luis Ribagorda not only had the best coordination but also sported one of the few convincing cowboy walks. Kelly Boyd as the Ranch Owner's Daughter who had the Wrangler's attention was pitch perfect.
Also on the program was the odd choice of the PdD from James Kudelka's Cruel World danced by Julie Kent and Marcelo Gomes. We just saw this piece at some special performance during the Spring Met Season – why again? The PdD is okay. Julie looks good in it. But it doesn't leave the viewer wanting more or particularly satisfied. It is clearly filler with only the needs of one dancer considered.
Cruel World was followed by a somewhat disappointing performance of Balanchine's Stars and Stripes PdD by Daniil Simkin and Sarah Lane. Of course, this will improve with additional performances, but Daniil was off target with regard to the texture and style of this ballet. Sure, he can do most of the tricks, but some he can't, and he substituted his own gala circuit tricks instead. A series of 540 degree trick turns – a substitution – nearly ended in disaster with a fall. Ormsby Wilkins' tempo was sluggish — maybe it was correct for the music, but it wasn't correct for the choreography — and the music shouldn't have been slowed down to accommodate Daniil's gala style.
While it was very encouraging to see that Sarah and Daniil managed the partnering relatively smoothly, including those difficult supported revolutions in arabesque which were beautiful, neither of them had the allegro clarity nor could they convey the length of line that is so pleasing to see in this piece. Most importantly the Balanchine sense of energy was completely missing — probably because of the slow tempo. Worst of all was Daniil's constant smirking and mugging at the audience — totally unwarranted considering he could not even manage to march around the stage with the correct style. Here is what it is supposed to look like.
The evening opened with Mark Morris' Drink to Me Only With Thine Eyes, a ballet that manages to be a complete survey of Morris' elementary ballet vocabulary dealt in a juvenile manner. Still, there were mess ups. At the end, when the couples were lined up, Isabella Boylston managed to be a half count off on a simple turn of the body. Hee Seo couldn't manage two instances of brise. The new soloist from Boston, James Whiteside, seemed intent on showing us his ballerina quality extensions. If anyone looked good in this piece, it was Herman Cornejo and Jared Matthews — both of whom would be better choices for the Stars and Stripes PdD than Daniil Simkin.
It's always a challenge to sell a piano ballet to an audience. Drink to Me originally worked 24 years ago only because Baryshnikov was in it. It doesn't work now, and it is most annoying that we have to see it again on the rep program for the Spring Met Season. It's not going to look any better on the Met stage, and the single piano in the huge Met Opera House is going to make the whole thing a snooze fest. Why not present Rodeo on the Met stage instead? It's a much better and more entertaining piece of choreography.
The HH Pump Bump Award, a snappy cowboy boot from Zara, is bestowed upon Sascha Radetsky who not only carried the evening but may end up carrying the week as well.
28 responses to “ABT – Rodeo ropes us in again – 10/16”
Haglund, thanks for the link to the Stars and Stripes Pdd. I’ve only ever seen glimpses from the film Center Stage. It was quite interesting to compare Julie’s dancing with that of an NYCB ballet dancer in that role.
On a side note, why doesn’t ABT have a Youtube channel? I mean, of course clips of their dancers are all over the place (hello, Siegfried-Angel and O/O-Gillian) and they get covered a lot by a lot of media channels (interviews and such), but I’m kind of jealous on their behalf when I see the NYCB’s, Houston’s, Royal Ballet’s, not to mention the Bolshoi’s. Some behind-the-scenes, dancer profiles, ballet trailers, etc. made by ABT itself.
Honestly, I’d love something like the Royal Ballet’s video of that 75 min. daily class. Maybe some people would find it boring, but I for one would love to see Marcelo, Herman, Sarah, and everyone else doing exercises. And I loved those RB vids of Anthony Dowell coaching Swan Lake. Why doesn’t ABT have something like that online, particularly Youtube, where the reach is enormous? And where a lot of young, digitally-savvy people go to?
Even if there are a lot of clips available already of their various dancers, it would be nice to watch things like I’ve mentioned. Of course other companies have done them already, but it would be fascinating to see it from ABT’s perspective.
Haglund, thanks for the link to the Stars and Stripes Pdd. I’ve only ever seen glimpses from the film Center Stage. It was quite interesting to compare Julie’s dancing with that of an NYCB ballet dancer in that role.
On a side note, why doesn’t ABT have a Youtube channel? I mean, of course clips of their dancers are all over the place (hello, Siegfried-Angel and O/O-Gillian) and they get covered a lot by a lot of media channels (interviews and such), but I’m kind of jealous on their behalf when I see the NYCB’s, Houston’s, Royal Ballet’s, not to mention the Bolshoi’s. Some behind-the-scenes, dancer profiles, ballet trailers, etc. made by ABT itself.
Honestly, I’d love something like the Royal Ballet’s video of that 75 min. daily class. Maybe some people would find it boring, but I for one would love to see Marcelo, Herman, Sarah, and everyone else doing exercises. And I loved those RB vids of Anthony Dowell coaching Swan Lake. Why doesn’t ABT have something like that online, particularly Youtube, where the reach is enormous? And where a lot of young, digitally-savvy people go to?
Even if there are a lot of clips available already of their various dancers, it would be nice to watch things like I’ve mentioned. Of course other companies have done them already, but it would be fascinating to see it from ABT’s perspective.
Addendum: My mistake, RB’s channel is actually The Royal Opera House’s.
Addendum: My mistake, RB’s channel is actually The Royal Opera House’s.
kit! i have asked that same question 1000 times over. PNB and boston ballet also have excellent youtube channels with dancer profiles & wonderful rehearsal & performance footage. i don’t understand ABTs resistance to it at all. i mean, how much can it cost to record some rehearsals with a little flipcam or even an iphone? and what they do record is only accessible thru their online magazine therefore reaching only their current audience instead of attracting new fans. there’s not even a link to videos on their company website. it’s sad.
meanwhile dance fans have access to a bazillion videos of ivan and natalia so they think that’s what they need to see. if ABT would actually promote their own dancers via youtube perhaps they wouldn’t feel the need to hire so many outsiders. really, i don’t get it.
kit! i have asked that same question 1000 times over. PNB and boston ballet also have excellent youtube channels with dancer profiles & wonderful rehearsal & performance footage. i don’t understand ABTs resistance to it at all. i mean, how much can it cost to record some rehearsals with a little flipcam or even an iphone? and what they do record is only accessible thru their online magazine therefore reaching only their current audience instead of attracting new fans. there’s not even a link to videos on their company website. it’s sad.
meanwhile dance fans have access to a bazillion videos of ivan and natalia so they think that’s what they need to see. if ABT would actually promote their own dancers via youtube perhaps they wouldn’t feel the need to hire so many outsiders. really, i don’t get it.
Hi Kit & Robin.
As my wise friend said to me Tuesday night when we were discussing ABT’s piss-poor marketing and the misuse of its talent: “ABT never misses the opportunity to miss an opportunity.”
I have no knowledge as to why the company doesn’t have a public YouTube channel, but I would have to guess that it’s a wrangle issue with the dancers’ union that may include other media matters. NYCB negotiated an enlightened media policy with its dancers years ago that covers compensation relative to media productions. Maybe it’s another example of Koch & Co. trying to bash unions.
Hi Kit & Robin.
As my wise friend said to me Tuesday night when we were discussing ABT’s piss-poor marketing and the misuse of its talent: “ABT never misses the opportunity to miss an opportunity.”
I have no knowledge as to why the company doesn’t have a public YouTube channel, but I would have to guess that it’s a wrangle issue with the dancers’ union that may include other media matters. NYCB negotiated an enlightened media policy with its dancers years ago that covers compensation relative to media productions. Maybe it’s another example of Koch & Co. trying to bash unions.
“meanwhile dance fans have access to a bazillion videos of ivan and natalia so they think that’s what they need to see.” It’s frustrating, isn’t it, Robin? And remember that video of Osipova’s dying swan Haglund posted sometime ago? *shudder* (Off to watch Plisetskaya and Ananiashvili)
Haglund, that’s sad if it’s because the admin doesn’t see eye-to-eye with the dancers. Youtube is quite an accessible platform, and ABT is missing a lot by not setting up a channel and showing off its people and repertoire. Meanwhile, dancers like Simkin are playing it smart by communicating directly with new audiences through twitter and Youtube. I’m curious, what do professional ballet dancers think of ‘tooting your own horn’ in this manner, so to speak?
“meanwhile dance fans have access to a bazillion videos of ivan and natalia so they think that’s what they need to see.” It’s frustrating, isn’t it, Robin? And remember that video of Osipova’s dying swan Haglund posted sometime ago? *shudder* (Off to watch Plisetskaya and Ananiashvili)
Haglund, that’s sad if it’s because the admin doesn’t see eye-to-eye with the dancers. Youtube is quite an accessible platform, and ABT is missing a lot by not setting up a channel and showing off its people and repertoire. Meanwhile, dancers like Simkin are playing it smart by communicating directly with new audiences through twitter and Youtube. I’m curious, what do professional ballet dancers think of ‘tooting your own horn’ in this manner, so to speak?
I’m interested in hearing about how NYCB handled that media policy and compensation. The top hits on Google were related to that twitter flap with the dancer Devin Alberda.
I’m interested in hearing about how NYCB handled that media policy and compensation. The top hits on Google were related to that twitter flap with the dancer Devin Alberda.
kit- it is SO frustrating! i think daniil is really smart to promote himself as he does- he has a HUGE fan base & i’m sure that’s a large part of the reason he’s getting principal roles. however i don’t think a lot of dancers care to spend the time or don’t have the temperament to self promote & really, they shouldn’t have to- the company should promote them. whatever the reason, i hope they find a way around the problem as they are really hurting themselves by not taking advantage of the media.
kit- it is SO frustrating! i think daniil is really smart to promote himself as he does- he has a HUGE fan base & i’m sure that’s a large part of the reason he’s getting principal roles. however i don’t think a lot of dancers care to spend the time or don’t have the temperament to self promote & really, they shouldn’t have to- the company should promote them. whatever the reason, i hope they find a way around the problem as they are really hurting themselves by not taking advantage of the media.
Kit, here’s a link to the NYCB Media Agreement (PDF) at AGMA:
http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CCIQFjAA&url=http%3A%2F%2Fwww.musicalartists.org%2Fagreements%2FNewYorkCityBallet.MediaAgreement.2009-.pdf&ei=OEiAUOTLBoT30gHfkoCgCQ&usg=AFQjCNEfk7lWVqaRpDchGYG2ZHJMsMF3eQ&sig2=PO8Gu8Ydzzes6k4djWjy8Q
Kit, here’s a link to the NYCB Media Agreement (PDF) at AGMA:
http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CCIQFjAA&url=http%3A%2F%2Fwww.musicalartists.org%2Fagreements%2FNewYorkCityBallet.MediaAgreement.2009-.pdf&ei=OEiAUOTLBoT30gHfkoCgCQ&usg=AFQjCNEfk7lWVqaRpDchGYG2ZHJMsMF3eQ&sig2=PO8Gu8Ydzzes6k4djWjy8Q
Robin, I totally agree that it’s the company that should really be promoting the dancers. There’s this Australian Ballet vid where the AD was talking about how his/the admin’s job was to make sure everything (the rehearsals, the sets, the accommodations etc.) ran smoothly so that all the dancers had to do was show up and point their toes 🙂 (they were on tour in Tokyo). That should be how it is, don’t you think? That ABT would handle the PR and marketing so that it would be easier for the less proactive dancers.
Robin, I totally agree that it’s the company that should really be promoting the dancers. There’s this Australian Ballet vid where the AD was talking about how his/the admin’s job was to make sure everything (the rehearsals, the sets, the accommodations etc.) ran smoothly so that all the dancers had to do was show up and point their toes 🙂 (they were on tour in Tokyo). That should be how it is, don’t you think? That ABT would handle the PR and marketing so that it would be easier for the less proactive dancers.
kit- you would think 🙂
kit- you would think 🙂
🙂
Haglund, thanks for the link!
🙂
Haglund, thanks for the link!
Haglund, it seems you’re very familiar with Stars and Stripes. Need your confirmation for this video does the French do style correctly or not? http://www.youtube.com/watch (deleted per Al’s request)
Haglund, it seems you’re very familiar with Stars and Stripes. Need your confirmation for this video does the French do style correctly or not? http://www.youtube.com/watch (deleted per Al’s request)
Hi, Al.
M. Legris in this clip got a lot more of it right than Daniil Simkin did this past October, but he still had problems pulling off the partnering. Legris did not dishonor the choreography by changing it to his favorite tricks the way Simkin did.
Aurelie gave her interpretation of the Sousa marching band music quite a French cabaret flavor which is probably fine in France but would not go over well here.
I made the deletion you requested.
Hi, Al.
M. Legris in this clip got a lot more of it right than Daniil Simkin did this past October, but he still had problems pulling off the partnering. Legris did not dishonor the choreography by changing it to his favorite tricks the way Simkin did.
Aurelie gave her interpretation of the Sousa marching band music quite a French cabaret flavor which is probably fine in France but would not go over well here.
I made the deletion you requested.