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Friday, June 23, 2017

Farewell Diana

Diana and Marcelo's curtain calls
Tonight ABT bid farewell to one of its most beloved artists. After the fraught finale of Cranko's Onegin the sold out crowd screamed and yelled their appreciation for Diana Vishneva. Her longtime stage partner Marcelo Gomes hugged and comforted her. Confetti streamed down from above, the stage was covered in flowers, ABT colleagues marched onstage with hugs and more bouquets, and Diana looked simultaneously sad and elated as she basked in the love of the audience. Oh yeah, Diana's husband also made an appearance. The Diana and Marcelo Lovefest Curtain Call Routine was dialed up an extra notch tonight. He swung her around in an embrace as confetti fell. He fell to his knees in obeisance and she fell to her knees in response. She cried, they kissed, they nuzzled. It's really the Show After the Show. Usually I find their routine cloying, but this was her farewell, so it was almost cute.

Bedroom pas de deux, photo @ Gene Schiavone
Not much needs to be said about the performance -- Diana and Marcelo are old hats at this ballet and know exactly what to do with their roles. Their timing in their pas de deux is so precise, yet they're able to maintain the illusion of this spontaneous passion. Those lifts (torch lifts, upside down lifts, sideways lifts, one hand lifts, basically lifts in every position imaginable) looked effortless. Diana's portrayal of Tatiana eschewed some of the girlish mannerisms she had included in the past and thus had more sincerity. Her pliant back, expressive face, and soft arms were as exquisite as ever. Gomes usually is such a warm stage presence that the cold, priggish Onegin isn't a natural fit for him, but he also was able to make it work. His Onegin was a ladykiller who knew his effect on women. When he ripped up Tatiana's letter and crumpled it in her hands he walked away smugly, as if he'd made another conquest AND rejected said conquest. Onegin might not be the greatest ballet, but Diana and Marcelo's passion and commitment elevated the material. Roman Zhurbin made a winning Gremin -- stolid, but exuding a quiet decency that made Tatiana's loyalty understandable. Isabella Boylston (Olga) and Blaine Hoven (Lensky) were a nice, youthful foil for Diana and Marcelo's mature passion.

Here is a video of the curtain call that was uploaded to YT:

Flowers and confetti, photo @ George Etheredge
Diana was blessed in many ways. She was born with a classic stage face -- huge eyes, cherry lips, thick dark hair, that all managed to catch the light in the best way. Her face could look doll-like or sophisticated depending on the ballet. Her frame was petite but her limbs were elongated and her arms had that beautiful tapered look. She received the best training at the Vaganova Academy and became a star at both the Mariinsky and other companies around the world in record time. At ABT she found a wonderful partner first in Vladimir Malakhov and later in Marcelo Gomes. Just billing Vishneva and Gomes was often a sell-out for ABT -- the two of them complimented each other perfectly. His partnering skills always made her look stunning and her intensity pushed him to greater emotional heights. Their highly staged, over-the-top curtain calls (where Marcelo prostrates himself on one knee, and the two of them don't look at the audience, but instead kiss and nuzzle the whole time) became almost as anticipated as the performances themselves.

Vishneva and Gomes, photo @ Andrea Mohin
I first saw Diana Vishneva in 2006 performing Giselle. I still consider Giselle her best role. I saw Diana's Giselle several more times over the years and it was always a unique experience -- she put on tons of black eyeshadow, her face was ghost white, she added extra layers of tulle to her dress, and frankly looked scary. There was a fierceness to her Giselle that was unmatched. In Act 1 when she found out about Albrecht's betrayal she always ripped Bathilde's necklace and threw it on the floor with a ferocious rage. In the Mad Scene she avoided any lithographic prettiness as her mouth drooped open and her hair flew wildly all over her face. In the second act, the speed of her turns during the Wili initiation, the way she stared down Myrtha, and her habit of not pledging love to Albrecht during the final moments of the ballet made Giselle as much of a ghost story as a romance. It was unique and unforgettable. Marcelo Gomes was her Albrecht for the latter portion of her career but to me the most memorable Giselle was the one she did in 2006 with Vladimir Malakhov. I had never seen that kind of demented, off-kilter portrayal, and it made me rethink the entire ballet. Her later performances of the first act were tamer than the wild-child 2006 portrayal but she was still remarkable in her intensity and her Act 2 remained the same ghostly, spooky marvel.

Vishneva and Zverev in Ratmansky's Cinderella
Vishneva was a diverse artist in her prime. In later years she shrunk her classical ballet repertory. None of her other roles quite rose to the heights of her Giselle, but she was still a special artist in all of them. Her Nikya in Bayadere had all the Russian attributes -- flexible back, beautiful coiling arms, a way of infusing each step with beauty. At ABT she danced MacMillan's two most famous heroines: Manon and Juliet. Her Manon was seductive and calculating. and she and Gomes (de Grieux) had sizzling chemistry together. She was also a wonderfully passionate Juliet, although the kind of raw naturalism that MacMillan wanted isn't really in Diana's DNA. For a great rendition of her Juliet I recommend the commercial video from the Mariinsky. Lavrovsky's choreography fits her better. I adored her wistful, winsome Cinderella in Ratmansky's otherwise uneven version for the Mariinsky. When she toured with the Mariinsky in 2008 she performed a slinky, over-the-top Zobeide in Fokine's Scheherazade that really lit the stage on fire. It's a shame she only did Ashton's Sylvia a few times as she was wonderful as the huntress. A few not-so-memorable roles: her Odette/Odile was surprisingly low-impact, mannered and fussy. She couldn't save Alberto Alonso's atrocious Carmen. She also did not have the best taste in modern dance projects.

Vishneva as Aurora, photo @ Gene Schiavone
Diana's final and greatest triumph, however, was when I saw her Ratmansky's new/old Sleeping Beauty two years ago. She was by then nearly 40 and there was chatter about whether she'd be able to fulfill the requirements of a ballet that is considered the ultimate test of classical technique. No one should have worried. Vishneva put on a master class for the youngsters on how it's done. She was the only Aurora I saw who conquered all the technical challenges of the role, and her characterization of Aurora really made an arc from young and bubbly to dignified and queenly. When she held that final triumphant balance in the Rose Adagio, the audience started roaring and for good reason.

This is Diana's own lovely tribute to her time at ABT. I think it speaks for itself. Farewell Diana. She was that rare combo: a true artist, a true ballerina, and a true star. ABT audiences were lucky that this star traveled to this galaxy. She was one-of-a-kind and will be missed.

This is my tribute; my words of heartfelt gratitude. A tribute to the company that, many years ago, has become part of my life, and has always felt like a second home. Of my 22 years on stage, thirteen have been shared with the ABT. Not that long, one may say, but to me, this equals to a lifetime! The ABT is a troupe like no other. The passion and dedication of its artists are truly rare for a large company; everyone will be there for you; everyone will lend you their shoulder, share your joy and your sorrow. The years with the ABT are now an inseparable, treasured part of my soul. Among the people I’ve had the honour of working with over those thirteen years, some are no longer with us; others are no longer in dance, but the moments spent together, our show times and our rehearsals, remain in my heart. On the Met stage, you breathe in the thrillingly vibrant energy of New York and sense its rhythm as it fills every cell of your body. I have experienced that while at the ABT, and this magical experience will stay with me as long as I live. Life is cyclic, and I’m sure I will keep meeting my friends from the ABT both on and off stage. This is why today doesn’t feel like parting ways. How would one forget all the love and warmth of those thirteen beautiful years? No farewells, then. Fair winds! @abtofficial #dianavishnevaabtfarewell
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Friday, June 16, 2017

Sarah Lane's Swan Lake

Sarah Lane and Danil Simkin
Last night Sarah Lane made a last-minute substitution for an injured Maria Kochetkova in Swan Lake. This was Sarah's New York debut in the role, and after a banner season where she's triumphed in Ratmansky's Whipped Cream and Giselle, the buzz and anticipation in the sold-out auditorium was high. It was generally thought that if Sarah could bring down the house as Odette/Odile, a promotion to principal would happen.

Odette/Odile is not as natural of a fit for Lane as Giselle. Sarah Lane doesn't have a physique that screams "swan." She's petite and her limbs are beautifully proportioned but not elongated. Her extension is decent but without the height and dimensions she did not fit the aesthetic of the traditional Swan Queen. Also, she's a natural allegro dancer with fast limbs and quick footwork. (Whipped Cream took advantage of this to an absurd degree.) The drawn out adagio movements of Odette were sometimes clipped short -- no languorous poses. With that being said, it's remarkable what she was able to do as Odette. Her arms are soft and fluttery. Not the majestic flapping arms, but certainly boneless enough. She has a wonderfully flexible, pliant back. Her Odette variation was marvelous -- those sissones that seemed to scream "I want to be free!" along with a fast. exciting coda that established Odette's independent spirit. And as always with this dancer, there's this quiet intensity that is riveting to watch.

She had a worthy partner in Daniil Simkin. Simkin put aside his usual arsenal of tricks and partnered Sarah beautifully in the lakeside scene. The overhead lifts went off without a hitch. What's more, Simkin did something that also doesn't come naturally to him -- he emoted. This was a Siegfried who was in awe of Odette. He often lowered his head as if in obeisance to her. Simkin's youthful look gave us a reminder that this prince is young and wet behind the ears. He's not Albrecht.

After the white lakeside act was over the general consensus was that Sarah would have an easier time with Odile. Alas, this was not the case. Sarah's Odile came across as incomplete in characterization -- more rehearsal time no doubt would have helped. She smiled a lot directly towards the audience but didn't project much besides a vague coquettishness. The tender rapport that she and Simkin had in the lakeside scene did not carry over to the Black Swan pas de deux. There were a few partnering bobbles, nothing major, but enough to throw off the flow of the adagio. Sarah's Odile variation was technically fine, but she hasn't figured out the trick of dancing for the ballroom crowd yet. The exhibitionism that is very much a part of Odile wasn't there with Lane. And ... those 32 fouettés. Sarah started strong -- single, single, double, but abruptly stumbled out of them with some extra music to go, and couldn't hide her disappointment. So the moment of triumph for Odile was overshadowed by Lane's visibly crestfallen demeanor. There's no doubt Sarah has a better Swan Lake performance in her. Hope she's given another chance.

Speaking of those fouettés -- ABT audiences often complain that there's a lack of consistency and artistry in the 8 week Met season. Well, I'm just going to put it out there that ABT's audience is part of that problem. Much of the audience seems to only care about the fouettés (which is about one minute of music in a 2.5 hour ballet) -- after Sarah fell out of her sequence, she received nothing but golf claps. This couldn't have been good for her nerves and for her future performances. Likewise, Daniil did not get applause until he started doing his usual fast turns, double tours, and other tricks. As long as the audience continues to treat the ballet as a display of circus tricks, ABT has no reason to coach dancers to focus on the finer details. Just churn out 32 fouettés (for the women) and 540's (for the men) and you're good.

This was illustrated last night by the audience APPLAUDING Simkin as he jumped into the lake and made an impressive arc with his body. Come on now. That's just vulgar. And the audience ignored the very beautiful final duet between Odette and Siegfried. Purple Rothbart (Alban Lendorf last night) usually gets the loudest cheers of the night for a very brief if flashy solo.

Alban Lendorf as Purple Rothbart
As for the production, I've avoided it for years and I'm not in a hurry to revisit. It's a very basic Swan Lake which captures very little of the poetry of the ballet. First of all, Purple Rothbart: he's become a huge audience favorite but he adds nothing to the story. The fourth act is abridged beyond recognition -- the beautiful, mournful dances of the swans has become reduced to some marching in front of what I call the "swamp curtain." The whole thing lasts 12 minutes, of which way too many are taken up by the Green Swamp Thing gyrating in the background. Only the Ivanov-choreographed lakeside scene isn't really tarred by the general Disney-ish, shallow feel of the production. The swan corps were very sloppy last night -- arms, wrists, and fingers all not in sync, many sickled feet. The pas de trois was well-danced by Joseph Gorak, Cassandra Trenary and Skylar Brandt but Gorak's been dancing this number for years. It can't be good for his morale that he's still stuck with the pas de trois.

Will Sarah be promoted to principal? Will ABT finally provide its dancers with the coaching and support they need? Will ABT's audience ever learn to look beyond the obvious tricks and learn to appreciate the subtler artistic details? I hope so, I hope so, and I hope so.

I mean, last night's couple only had four rehearsals. Wow.

ETA (June 17, 2017): Word came today that Uliana Lopatkina, the longtime ballerina of the Mariinsky, has retired. I didn't see Lopatkina as often as I would have liked, but the times I did see her the beauty and artistry of her dancing was unforgettable. Her Swan Lake lives in my memory as far and away the greatest Odette/Odile I ever saw, and reckon I'll ever see. She made time stand still with her uniquely mournful, elegiac Swan Queen. I was also fortunate enough to see her dance her cameo specialties such as The Dying Swan, La Rose Malade, and even some Balanchine: her adagio in Symphony in C was a master class of control. Her Nikya in La Bayadere was a bit too remote for me, but I couldn't argue with the beauty of her dancing. But Lopatkina's artistry extended even to pieces that were frankly sub-par. I remember beautiful legs and feet slicing through the trite choreography of Alberto Alonso's Carmen -- she alone made something sexy out of this tripe.

An amazing ballerina. She will be missed.

Thursday, June 8, 2017

Spring Diaries: A Doll's House Part 2, SAB Workshop, Le Corsaire

Danil Simkin as Lankedem
Over this week I attended a mishmash of performances. They ranged from good to mixed to awful.

Let's start with the good: a fun, entertaining performance of Le Corsaire from ABT. This season at ABT the principal women have been falling like flies due to injury (currently, Isabella Boylston, Veronika Part, Gillian Murphy and Maria Kochetkova are on the DL list). What this has meant is lots of opportunities for soloists, and the 6/8 performance showcased the talents both of veteran soloist Sarah Lane (Gulnare) and the newer Skylar Brandt (Medora). These two talented ladies managed to grab attention away from the men, whose pirate's chest full of ballet tricks usually dominate the ballet.

Skylar Brandt is a winning combination of technique, charm, and beauty. She has a natural stage face -- her large eyes capture the light. Her technique is formidable -- in act one her solo had attitude turns followed by triple pirouettes. You can see how strong her core is during the lifts -- she was so solid and never moved from position. But she's not just about the tricks. She has lovely arms, beautifully tapered legs and feet. She's small but dances big. Her pas de trois with Herman Cornejo and Jeffrey Cirio showed off her elegant line and tasteful style. Her fouttés were centered and clean in form and she sprinkled some doubles in the sequence. Later she did some clean, balanced Italian fouettés. Her portrayal also had an ebullience and sincerity that made Le Corsaire much less of a circus than usual.

This is Sarah Lane's season -- she's dancing with so much confidence and control. Her Gulnare was delightful. Her pas de deux with Simkin in Act One was wonderful. She did a beautiful series of backwards traveling changements and also held an extra long balance. She and Skylar were both beautiful in the Jardin Animé scene. The three Odalisques were mixed -- Cassandra Trenary as the first Odalisque was fast and crisp in the first variation, Katherine Williams charming in the second one, with those brisés but April Giangusero's Third Odalisque variation (a diagonal of pirouettes) didn't generate much speed or excitement and she fell awkwardly out of a final pique turn.

Now, the men: Herman Cornejo seems fully recovered from his injury, and his partnering of the petite Brandt was superb. Didn't think I'd ever see the day when Herman could do a Soviet-style upside down lift without any apparent effort, but I saw it tonight. His characterization of the pirate Conrad was full of his usual machismo and his cabrioles remain one of the 7 wonders of the ballet world. Jeffrey Cirio as Ali also has an impressive array of tricks, including a deliberately decelerating triple pirouette that ends with him sitting on the floor. But he doesn't really have the feline, exotic grace often associated with this role. Daniil Simkin as Lankendem has maybe the most impressive war chest and that's ironically his biggest limitation -- it's like he never developed out of that gala circuit mentality. But his Lankendem was funny and of course he ended with the obligatory 540. Craig Salstein (Birbanto) continues to be ABT's best character dancer followed closely by Roman Zhurbin (Pasha).

The production is colorful but garish -- the hot pink tutus in the Jardin Animé scene. And let's not get into the racism and misogyny in the story, which ABT matter of factly prints out in its program: "Dealers and buyers fill a noisy bazaar where slaved girls are being treated. Conrad and his men arrive as Lankedem, the owner of the bazaar, is selling girls." Yeah, better not think about the story too much.

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A week ago I saw the highly acclaimed A Doll's House Part 2. This quasi-sequel of Henrik Ibsen's A Doll's House got glowing reviews and is nominated for 8 Tony Awards, including Best Play, Best Actress, Actor, Featured Actress (two nominations), Best Director.  I didn't know quite what to expect.

Metcalf, Cooper and Houdyshell, photo by Brigitte Lacombe
It ended up being bar none the most disappointing theatrical performance this year. And maybe of all time? I really can't think of anything good about this play. Lucas Hnath's writing sounds like a womens' studies dissertation defense. The formula went like this: Nora presents her dissertation about freedom/marriage/empowerment, one of Torvald (Chris Cooper), Anne Marie (Jayne Houdyshell), or Emmy (Condola Rashad) challenge Nora on her thesis, and Nora defends her dissertation thesis some more. Wash, rinse, repeat for 1.5 hours. The whole time I wanted to scream "No one talks like this! You are not in academia!" By reducing Nora to a series of feminist tropes, it's taken all the complexity out of the Ibsen character.

I was also unimpressed by the acting. Laurie Metcalf projects a confidence that is fitting for the character but she's also one of those actresses who thinks shouting + exaggerated facial expressions + bug eyes = Acting. She made no attempt to temper her lectures with a conversational tone. It was just lecture, emote, lecture, emote, lecture, emote. Chris Cooper (Torvald) took the opposite approach which was mumble, make droopy eyes, mumble some more. Condola Rashad played Emmy as an automaton with a stiff, artificial speaking cadence. I don't know whether this was an accident or not but again, it made Emmy seem manufactured and not real. Only Jayne Houdyshell approached anything close a flesh and blood characterization. Boo. At least I got the tickets on TDF. Couldn't imagine paying full price for this stuff.

Darius Black, Mary Thomas MacKinnon, Roman Mejia, photo @ Paul Kolnik

The SAB workshop this year also didn't have the excitement and quality of last year's workshop. Part of it was the programming -- Christopher Wheeldon's Scènes de Ballet, Peter Martins' Hallelujah Junction and Balanchine's Scotch Symphony are not the most exciting works.  The Wheeldon is one of those "ballet class as ballet" works. The central motif is that there's a barre down the middle and on each side dancers are doing symmetrical moves, so it gives the illusion that they're dancing in front of a mirror. It involved 64 students. It's cute and harmless enough, but doesn't really showcase the talents of any individual dancers and Wheeldon doesn't develop or deepen this idea as the ballet progresses. A more creative choreographer might have had the dancers increasingly unhappy with their look in the mirror. Something. So this number ended up being both charming and tedious.

Hallelujah Junction is one of Martins' best works and it has plenty of opportunity for bravura dancing. In the evening performance Roman Mejia (son of Paul Mejia, Suzanne Farrell's ex-husband) wowed the crowd with various bravura steps and Mary Thomas MacKinnon (sister of NYCB corps member Olivia MacKinnon) and Darius Black were also impressive. The dancing was so exciting that Martins' Hallelujah Junction, became an audience hit (and Martins and "audience hit" rarely are ever in the same sentence). With all the cheering that went on during yet another bravura sequence Hallelujah Junction started to feel like a YAGP gala.

Domini and Zuniga, photo @ Paul Kolnik
Thankfully the program closed out with some Balanchine, even if its B-list Balanchine. Scotch Symphony has lovely costumes (pretty pink dresses for the girls, fancy looking kilts for the men), but the choreography just isn't all that interesting. Balanchine's corps work is usually masterful but here it was bland and unmemorable. The most amusing choreography is for a small girl dressed en travesti in mens' kilts  -- in yesterday's performance, the bubbly, fleet footed Amarra Hong. The central couple were Andres Zuniga and Gabriella Domini. There were definitely some performance nerves and awkward partnering moments but they're young. Domini has a winning, dignified stage presence and Zuniga has lovely petit batterie.

The SAB workshops are always worth attending. I hope next year's program will be more appealing.

Wednesday, May 31, 2017

Gisellex3: Hello David! Bravo Marcelo! Brava Stella and Sarah!

Hallberg and Murphy, photo @ Kent G. Becker

I saw three (!!!) Giselles in ABT's spring season. And in a way, each Giselle was a celebration -- the first celebrated the return of a beloved dancer whom many feared was lost to injury forever. The second performance celebrated the 20th anniversary of a company treasure. The third performance celebrated a long-time soloist's chance to shine in the spotlight.

Albrecht was the last role I saw David Hallberg dance nearly three years ago. Then came the devastating injury. Every year balletomanes hoped to see him again and he didn't appear. He disappeared from social media, so much so that when he finally posted on Instagram again the caption read "emerging from the shadows." Turns out he has spent the last year in Australia for intense physical therapy. The May 27 performance of Giselle at the ABT was therefore the kind of event where you see as many dancers in the audience as balletomanes. I saw Sara Mearns, Tiler Peck, Joaquin de Luz, Allegra Kent, and a bunch of other former and current dancers all in the audience, cheering on this magnificent dancer.

So ... how was he? Well, he's very much the same dancer. His jumps are more careful and his solos perhaps not as penny-whistle clean as they might have been pre-injury. He was also a bit ginger with the overhead lifts in the Act 2 pas de deux. But the beautiful feet, the classical line, the austere stage manner, the soaring jump, were all there. In Act Two I could hear a collective gasp when he walked upstage to do his 24 entrechat sixes. The audience started applauding almost immediately. His characterization was also the same as I remembered it -- sort of an aristocratic icicle, whose aloofness is part of the charm. Some might prefer a more emotive Albrecht but Hallberg's characterization works for him. The company suffered in his absence. Welcome back!

The rest of the performance was not on Hallberg's level. Gillian Murphy was making her New York debut as Giselle and Stella Abrera was Myrtha. Gillian's Giselle was professional, well-danced, but she was essentially miscast -- she's not really a Romantic ballerina. Her upper body doesn't have the softness required for this sort of ballet, nor does she have the light airy jumps. And as a portrayal she didn't convince either. She doesn't exude frailty -- she looks like a hearty, healthy, happy village lass. Her Spessitvseva variation had great hops on pointe but her upper body just didn't sing "I'm in love." In Act Two there wasn't a sense of a spirit healing and saving Albrecht -- there's something too down to earth with Murphy for her to pull that off. I understand that she has been suffering from an injury but the steps in Act Two were fine, although there was some wobbliness in the exposed developpé-to arabesque penchée that starts the grand pas de deux.  Still, steps or no steps, it wasn't a Giselle. She checked the boxes and that was it. The romantic chemistry with Hallberg was not there either. I've seen them paired in a number of ballets together and they always exude a brother/sister vibe.

Abrera as Myrtha, photo @ Gene Schaivone
Stella Abrera's Myrtha is a well-known portrayal. She was commanding, and her face had a ghostly pallor that was spooky. Overall it was odd casting -- Abrera is the natural Giselle, with those wispy arms and soft, pliant upper body, while Murphy's powerhouse technique and rigid, block-like torso makes her a more natural Myrtha (a part she's played beautifully for many years). In the peasant pas de deux Joseph Gorak and Skylar Brandt were very charming. Gorak has a clean style and beautiful form -- wonder why his career at ABT has stalled.  Brandt continues to be one of the most promising soloists -- I actually can't wait for her to dance Giselle one day. Craig Salstein was a wonderful Hilarion -- you felt for the poor guy when he threw the flowers he'd left on Giselle's doorstep away. The Wilis were the usual ABT level -- not great, with a few sagging legs and sickled feet which were the most noticeable in  those famous arabesque chug across the stage.

Here is a video I took of the curtain calls. At the curtain calls he looked introspective. This has obviously been a painful journey back to ballet. Let's see what the future holds.

Marcelo and Stella, photo @ Kent G. Becker

The May 30th performance celebrated Marcelo Gomes' 20th anniversary with the company. Gomes has always been ABT's rock -- the company's best partner and one of the most versatile dancers. In recent years Marcelo has been scaling back his performances. There is a heaviness to his dancing now -- the jumps are lower, the landings not as soft, and in those parallel assemblés with Giselle in Act 2 he didn't cover that much space. But in other ways but this performance of Giselle showed that he's still got IT -- in Act 2 he lifted Stella in those parallel press lifts like she was paper. His partnering was beautiful in the pas de deux. He also completed a clean set of entrechats. Moreover, his portrayal of Albrecht is still convincing -- not the icy prince of David Hallberg. Sort of a rakish playboy. If you follow Marcelo's Instagram you know that he has a wonderful sense of humor. His Albrecht has the same joie de vivre. I hope he continues to dance with ABT for many years to come, even if it's character roles. His Widow Simone was one of the funniest performances I've ever seen.

Abrera as Giselle, photo @ Andrea Mohin
Marcelo's partner for this evening was the eternally lovely Stella Abrera. Abrera, unlike Gillian Murphy, is a natural Giselle. She skips out the house and you love her. She pledges her love to Albrecht and your heart aches for her.  She emerges from the grave in Act 2, her whole face drained of life, and a chill goes up your spine. One caveat: her mad scene reads as slightly calculated and mechanical. Her performance was not technically perfect -- her Act 1 variation had a shaky moment when she put her free leg down, readjusted, then completed the hops on pointe. But as with most special artists you focus on what she can do more than what she can't. Her light, airy jump (those assemblés just floated across the stage and her entrechats were so fast and buoyant), her wispy arms, her pliant upper body, her sweet demeanor, all of these made for a wonderful Giselle.

Christine Schevchenko's Myrtha was not on the level of Abrera's Myrtha. But she's still growing in the role. Cassandra Trenary was wonderful in the peasant pas de deux, Blaine Hoven less so -- he was rather sloppy in his variation and frankly looked out of shape. Thomas Forster's Hilarion was also not as articulate with the mime as Craig Salstein. The two Wili attendants Melanie Hamrick and April Giangusero were very consistent throughout the run.

Here is a video I took of the curtain calls and celebration of Marcelo. Watch the fun moment at 1:40:

Lane and Cornejo
It was the third Giselle on 5/31, however, that will live in my memory. This Giselle almost didn't happen -- Herman Cornejo was originally scheduled to dance with Maria Kochetkova. But Maria got injured, and so Sarah Lane subbed for her. And she is quite simply on the short list for the best Giselle I've ever seen (and this list includes Diana Vishneva, Natalia Osipova, Alina Cojocaru, and Nina Ananiashvilli).

This was one of those magical performances where everyone was on. Even the peasant pas de deux was clean and bouncy and added to the story rather than serving as a placeholder. Cassandra Trenary's pirouettes and sustained arabesques were lovely, and Gabe Stone Shayer had some very clean cabrioles in his variation.  Christine Shevchenko's Myrtha was much more elevated and intense tonight -- she just seemed to jump higher and farther. Craig Salstein repeated his poignant portrayal of Hilarion.

But the heart of the performance was Sarah Lane's unforgettable account of the title role. What separated Lane from Abrera and Murphy was: 1) her technical security; and 2) the intensity of her portrayal. The technical security allowed her to roll her foot down from arabesque to pencheé without any obvious gear shifting, and to hop across the stage on pointe as if it were the easiest thing in the world in the Act 1 variation. It allowed her to transform herself from a still ghost to a whirling frenzy in the Wili initiation scene. Her turns in attitude were faster than anyone I've ever seen, except for maybe Osipova. It allowed her to hold the sustained developpé and arabesques without any apparent effort, and for her to fly across the stage in any form of jump, be it the assemblés, sissones, entrechats, the soubresauts, or the grand jetés. It's obvious she prepared meticulously for this opportunity and grabbed the brass ring.

But all this would have been for naught had there not been a strong characterization. Lane's Giselle despite her pretty, petite girlish looks was almost frightening in her intensity. The emphatic, desperate way she clung to Albrecht, or implored her mother to let her dance, or glanced at Bathilde (Brittany DeGrofft) with a mix of envy and admiration, all set her apart from the rest of the village girls. In the Act 1 variation she kept looking at Albrecht with a mix of adoration and lust. In the mad scene instead of moving carefully from iconic pose to iconic pose she danced feverishly until she fell to the ground in exhaustion. It was an eerie foreshadowing of Act 2. And the intensity extended to the more abstract second act. For the first time I could clearly see Giselle imploring, no, commanding, Albrecht to get up and dance. When Giselle held up her two fingers as a final pledge of love you believed her, and thus you believed in Gautier's tragedy.

Herman Cornejo had wonderful chemistry with Lane. You can see where he's still injured -- his free leg seemed stiff, and he had difficulty lifting his leg in arabesque. But his cabrioles are still the highest, the freest, the most expansive, and he completed two wonderful diagonals of brisés. The brises make more sense than the entrechats dramatically -- the brisé diagonal looks like Myrtha's force is drawing Albrecht to his doom. And his partnering was fine. Only the first press lift had a somewhat awkward position and exit. His portrayal also matched Lane's intensity. This couple in the first act were all over each other. They couldn't stop hugging, kissing, caressing each other. This was a love story, not just a nobleman having some fun.

Sarah Lane has been a soloist for a long time, and she's seen opportunities slip away. But after this performance of Giselle, I don't know how she can not be principal. This was indeed a celebration of her hard work and dedication.

And here is her Instagram showing that after such a show, she still has a sense of humor:
A post shared by Sarah Lane (@sarahlaneps103) on

Friday, May 26, 2017

Here/Now ends with a whimper; Little Foxes

Concerto DSCH with Bouder and de Luz, photo @ Paul Kolnik
A matinee performance on Saturday, May 20 (officially titled Here/Now No. 9) was perhaps the single most dispiriting afternoon I've ever spent at NYCB. The program presented six different works. By the end of the fourth week of the Here/Now festival the number of injuries was staggering -- every week had a multitude of casting changes.  The dancers, usually so chipper on social media, had resorted to venting and more venting. Georgina Pazcoguin's wry line "To those who fell, to those who made it (extra kudos) and to those ballets we will never see again..." pretty much summed it up.

Reichlen in Red Angels
The first work on this program was something called Red Angels. Four dancers in red unitards stood in four separate spotlights and gyrated for 10 minutes. It actually pained me to see Tess Reichlen and Preston Chamblee, both so gorgeous in physique, reduced to this sort of junk. Then we had Varied Trio, in which the talents of Sterling Hyltin and Taylor Stanley were wasted doing ... uh, I don't remember. That's how memorable the ballet was. But the worst was Myles Thatcher's Polaris, where 13 minutes felt like 13 hours in an excruciatingly boring ballet of nothingness. And of course there was the ubiquitous, cloying After the Rain. Of this long program (2.5 hours), only Barber Violin Concerto and Concerto DSCH had any choreographic value.

After each awful piece I'd see members of the audience get up and leave. By the time DSCH rolled around there were so many defections the third ring (where I was sitting) was practically empty. What's more, the dancers looked tired and sluggish. Even in the irrepressible DSCH (Ratmansky's most charming work) there was a feeling that they were simply going through the motions. When Ashley Bouder seems like she's out of gas, there's a problem. The corps guy who keeps jumping up and down with joy in the first movement was the only sign of life. Of the 43 ballets, I'd say the number that were worth reviving was maybe uh, 15 to be generous?  All five Ratmansky ballets (Concerto DSCH, Namouna, Pictures at an Exhibition, Russian Seasons, Odessa), some of Justin Peck's works, and the odd charmer here and there (Lauren Lovette's For Clara didn't make much of an impression in the fall but in the spring amongst all the trash it was looked like a masterpiece in comparison). I just hope that none of the injuries are career-ending. This was a major miscalculation on the part of Peter Martins.

de Luz and Kowroski in MSND, photo @ Paul Kolnik

Thank god then that the final week was the Balanchine classic Midsummer's Night Dream. I caught two performances this week and after seeing so much junk the two evenings were healing and comforting. On Tuesday I saw Maria Kowroski's return to the role of Titania. She's diminished both in amplitude and expression but her grace and beauty are intact. Joaquin de Luz's Oberon remains a marvel of speedy footwork. His Scherzo was not bad for someone over 40, not bad at all. Indiana Woodward's Butterfly was fast, speedy, and accurate. The highlight of the evening was Tiler Peck and Tyler Angle in the sublime Act Two pas de deux. This time Tiler Peck dove so far backwards in Angle's arms she was almost parallel to the ground, and then she dove fast-first again. It was both a master class of control and a jaw-dropping display of technique.

Ball, Reichlen, Garcia, Hyltin, Finlay

The second performance however was, IMO, the livelier and funnier one. Teresa Reichlen's Titania, Gonzalo Garcia's Oberon, Harrison Coll's Bottom and Harrison Ball's Puck are all excellent portrayals -- and funny, too. Reichlen has improved so much in this role -- I remember she used to be a beautiful icicle in this part. Now she's warm and feminine and her duet with Bottom is equal parts sweet and comical. Garcia's Oberon is not a virtuoso powerhouse but he has the musicality and sense of humor to do justice to this role. And his Scherzo was impressive for the soft landings and graceful upper body. The four lovers were also very funny, especially Aaron Sanz's hilariously foppish Demetrius. Ashley Hod made an impressive debut as Hippolyta.  In the second act pas de deux Chase Finlay had a few shaky partnering moments but Sterling Hyltin has grown enormously in the role. She doesn't have the absolute control over her technique that Tiler Peck has, but while Peck is often an inexpressive mask Hyltin radiates sweetness and femininity. Her upper body also has a softness that Peck doesn't have.

You could sense the company breathing easier after the four weeks of Here/Now. The SAB children were as always adorable, and Balanchine gives them such musical, appropriate choreography. Their rapid flicks of their arms represent the little critters in the forest so well. Contrast that to Ratmansky's Whipped Cream, where he had children in cupcakes simply jump around the stage. The dancers even regained their sense of humor on Instagram:

A post shared by Tess Reichlen (@shetess) on

Linney as Regina, Nixon as Birdie, photo @ Joan Marcus
In other news, I saw the Laura Linney as Regina/Cynthia Nixon as Birdie cast of The Little Foxes. I had seen the reverse cast during previews. Linney's Regina is showier than Nixon -- it's louder, more theatrical, with some crazy eyes. She's also more overtly malicious. Nixon's Regina has a chilling, soft-spoken demeanor. Both of them brought out different facets of the character -- Nixon made Regina a modern day businesswoman type. Linney made her more of a melodramatic villainess. For instance, during Horace's heart attack, Linney reached out to Horace a few times before she smugly crossed her legs, while Nixon just leaned back in her divan and never even looked at Horace. As for the Birdies, Linney's Birdie has the loud, rambling, confused mannerisms of a long-term alcoholic down pat. Nixon's Birdie is sadder, more fragile, speaking in a wisp of a voice. With Linney's Birdie you saw the bubbly young woman she once was, with Nixon you saw the broken person she's become. Both are excellent portrayals and it really helps to see both casts. But you can't go wrong with either cast. Can't recommend this revival enough.

Monday, May 22, 2017

Ratmansky's Whipped Cream is Empty Calories

Princess Praline and Boy (Lane and Simkin), photo @Matt Masin

ABT's spring gala began with the usual boring speeches, and then an announcement from Kevin McKenzie that he was basically giving choreographer Alexei Ratmansky a blank check -- the "Ratmansky Project" would allow this prolific choreographer $15 million to create ballets for the next five years. Ratmansky is obviously a hot commodity and ABT will do anything to keep him -- a few weeks ago, his new piece Odessa was also the raison d'etre of New York City Ballet's Spring Gala.

The Sweet Shop, photo @ Gene Schiavone
And then the eagerly awaited New York debut of Whipped Cream. This ballet had its premiere in Costa Mesa in March. Everyone marveled at Mark Ryden's sets and costumes. And when the curtain went up, I looked at the sets and costumes and thought, wow, they are amazing!!! They look like a Macy's Thanksgiving float come to life, with enormous blinking and moving stuffed animals, tutus that contain expertly wrinkled tea leaves, and an army of corps girls that actually look like puffs of whipped cream. This is the ballet for the sort of balletomane who is obsessed with opulent designs and fabrics.

There were pleasures to the performance that had little to do with the ballet itself. David Hallberg finally made his return to the Met stage after a 3 year long absence. When he climbed out of the "Coffee" bin the hardcore ballet fans cheered loudly. This was a moment where everyone breathed a sigh of relief. And he's still DAVID HALLBERG of the impossibly beautiful feet and remote, handsome manner. His role was more partnering than anything but how great it is to have him back!

Another was a closer check of the program. I found two names -- Justin Souriau-Levine (as Nicolo) and Catherine Hurlin (as Mademoiselle Marainne Chartreuse). Way back when they were picked as Little Mouse and Clara, respectively, in Ratmansky's original Nutcracker. What wonderful continuity to see them dancing on the Met stage in adult roles now. 

Whipped Cream puffs, photo @ Matt Masin
The actual ballet, however, is a meandering, muddled mess. No other way to put it. Part of the issue is the music -- Richard Strauss's 1924 score keeps a very even keel of unrelenting, waltzing sweetness, but has few musical climaxes for the choreographer to achieve its effects. Everyone says Balanchine's ballets are "abstract," but ever notice how dramatic his musical choices were? The loud crashing chords in Allegro Brillante, for example. Without musical climaxes to choreograph to, Ratmansky's inspiration comes in fits and spurts.

The other issue is the "storyline," which is like cotton candy -- sweet, but evaporates on contact. Basically a Boy loves whipped cream too much. He gets sick. He's brought to the hospital. The Sweets in the Sweets Shop come to life to dance. In the hospital the Boy is saved from the grips of a sadistic doctor and his army of needle-wielding nurses by Princess Praline and alcoholic beverages. The alcoholic beverages (played by actual dancers dressed as liquor bottles) get the doctors and nurses so drunk that Boy is whisked away to Princess Praline's Land of the Sweets. The end.

There were undoubtedly some very clever moments -- the dance of the whipped cream girls and the nightmarish nurses were funny spoofs of the Petipa ballet blanc. The whipped cream scene recalls the Kingdom of the Shades in La Bayadere, the nightmarish nurses draws inspiration from the Wilis in Giselle. Princess Praline (a pert, charming Sarah Lane) was given bossy, staccato marching steps to establish her take-charge "You're coming with me, Boy" personality. And the Princess Tea Flower and her tea leave sisters have some cleverly "crumpled" choreography --  pirouettes done with the leg bent at an exaggerated angle. The pas de deux between Tea Flower and Coffee was a sendoff of the classical Petipa divertissement.

Abrera and Hallberg, photo @ Gene Schiavone
But Ratmansky used his most tiresome tricks -- one is the by-now obligatory throwing of the main character up in the air, trampoline-style, by a group of guys below. This happens near the end of the ballet to the Boy (an androgynous, child-like Danil Simkin) without much rhyme or reason. The other is the cutesy, cloying romantic gestures -- Princess Praline ends a pas de de deux by shyly pecking Boy on the cheek. Princess Tea Flower (Stella Abrera, ever graceful) and Prince Coffee (David Hallberg -- welcome back!) end their act one pas de deux with Tea Flower held aloft by several men over Coffee's head, as if she's flying down for a kiss. A little of this first grade puppy love goes a long way.

Other times Ratmansky seemed to be doing a weird parody of ABT's virtuoso, overstuffed spring season tastes. For instance, is it an accident that Daniil Simkin actually plays an anonymous Boy, and also expresses his boyishness by a series of split leaps, 540's, barrel turns, and other YAGP gala tricks? Or that Act 2 actually has a parade of stuffed animals and enlarged float-heads? Even though the actual time of the ballet is short (less than 1.5 hours, with an intermission), interest lags and the final scene at Praline's kingdom goes on for way too long. Whatever the case, this Ratmansky work ends up being more empty calories than substance. Beautiful decor, but it's all dressed up with nowhere to go. And although all the sugar you see onstage is mouth-watering, it touches only the taste buds and not the heart.

Here's a video I took of the curtain calls:

Sunday, May 14, 2017

Groundhog Day and Who Deserves the Tony?

Andy Karl as the Weatherman stuck in February 2. Photo @ Sara Krulwich

Well I did something I never thought possible -- this afternoon I saw Groundhog Day: The Musical and with that I've seen all four musicals up for a Tony for Best Musical.  I've also now seen the two actors thought to be in hot contention for Best Actor in a Musical: Dear Evan Hansen's Ben Platt vs. Groundhog Day's Andy Karl.

How did I like Groundhog Day? Well ... uh ... I liked the parts more than the whole, if that makes sense. I LOVED Tim Minchin's breezy, catchy, compulsively listenable score. I think "Small Town, USA," "Nobody Cares," "One Day," "Night Will Come," "Seeing You," are all great songs and the strength of the score will give Groundhog Day a life after award seasons are over. I also LOVED Andy Karl's smarmy, smug Phil Connors. He plays the character totally different from Bill Murray -- Murray is all sarcastic bite, Karl is a glib pump-and-dump playboy. Andy Karl actually looks like those vapidly handsome weathermen that populate the local news. His voice is also sleepily seductive. In other words, he wins you over even though for most of the show he's a Class A jerk. I know Karl hurt his knee during previews and he wears a leg brace that he now uses for comic effect in the scene with the fur coat (you have to watch the show to get it).

I also loved Rob Howell's scenic design, a rotating set that cleverly allowed the same scenes to keep repeating themselves throughout the musical. Everyone goes on about The Great Comet's set design and yes it is clever to turn a Broadway theater into a cabaret club, but I also believe in the power of old-fashioned, beautiful stage sets and Groundhog Day's set is magical.

Barrett Doss, photo @ Sara Krulwich
Despite all these great things I thought Groundhog Day suffered from some structural problems -- one is the radical turn the show makes in the second act. It goes from funny and edgy to serious and sappy without much transition. One minute Phil is trying to kill himself to get out of living in February 2, the next minute he's acting like a transformed Scrooge and running all over town doing wonderful things for the down-and-out. Another issue is that Phil's love interest Rita (Barrett Doss) is pleasant and sweet but the chemistry between the two actors is not particularly dynamic. The big 11 o'clock love duet number "Seeing You" thus had less emotional impact than expected.

The supporting characters are not as well-developed as they could be. For instance, Nancy (Rebecca Faulkenberry) is a girl Phil has a one-night stand with. She's never really a big presence in the show, but in Act Two she suddenly gets a sad ballad "Seeing Nancy," which is a lovely tune but the audience hasn't really gotten to know Nancy. So the number was a bit formulaic and (IMO) a rather obvious way to turn the show from humorous to serious. Ned Ryerson (John Sanders) also goes from being a one-note obnoxious insurance salesman to singing a serious song of grief for his wife ("Night Will Come"). The melody itself is haunting. But again, we haven't had a chance to really know Ned beyond the few laugh lines.

As a whole, the show doesn't have the tight focus of Dear Evan Hansen or Come From Away. It lacks the showy glitz of The Great Comet. Personally, I think the race for Best Musical shouldn't even be a race -- Dear Evan Hansen is in a class by itself. However all the other three musicals are very strong -- Come From Away is the feel-good type of show audiences crave, The Great Comet is the offbeat type of show theater nerds love, and Groundhog Day is a genuine star vehicle for a leading Broadway actor. As for Best Actor, Andy Karl's performance, as charming and wonderful as it is, isn't as overpowering as Ben Platt in Dear Evan Hansen. So I don't think Groundhog Day will win Best Musical or Best Actor. But that doesn't mean it's not worth watching -- it is. And it might have the most classic, beautiful score of the four nominees. So Best Original Score? Best Set Design? Maybe?

Volle and Wagner, photo @ Richard Termine
I also caught the last performance of The Flying Dutchman at the Met. Although the performance was anchored by the veteran bass-baritone Michael Volle in the title role, the performance also (rare for Wagner) featured the promise of some younger voices. Amber Wagner's Senta was powerfully sung, with a gleaming sound that reminded me of the young Debbie Voigt. This is a punishing role and her top occasionally became wayward but she has hands-down the most impressive dramatic soprano voice I've heard in ... well, a long time. Ben Bliss's Steersman and AJ Glueckert's Erik offered handsome, robust tenor voices. And most of all, conductor Yannick Nézet-Séguin, who will be the Met's next musical director, gave a thrilling account of the score that was very different from James Levine's stately, slow style. The production was old and stodgy, but the performance was filled with hope for the future of Wagnerian singer. Fingers crossed.

I also saw Waitress a second time and loved it even more -- Sara Bareilles' voice was even more powerful, Christopher Fitzgerald was back is Ogie, and the whole evening had a wonderful estrogen-receptor energy.

Friday, May 5, 2017

Spring Gala: New Ratmansky, Old Gala Warhorses

Cast of Odessa, photo @ Andrea Mohin

Spring Gala at the New York City Ballet is traditionally a more substantive, dance-heavy evening than the Fall Fashion Gala. The good news: dance lovers often line the third and fourth rings dressed in non-designer clothes because they love ballet. The bad news: the ballets.

The raison d'etre for last night's gala was Alexei Ratmansky's new piece for City Ballet. Ratmansky's batting average at the NYCB has been 4/4 -- Russian Seasons (2006), Concerto DSCH (2008), Namouna (2010), and Pictures at an Exhibition (2014) have all traveled widely to other companies and are considered modern classics. My expectations were sky-high for his new work Odessa.

How was Odessa? Well ... uh ... I think I need to see this ballet more times to fully absorb it, but it was radically different from Ratmansky's usual style. There was no quirky humor, no sense of a happy, insular community. Instead it was a dark and disturbing piece that seemed to consciously eschew all the qualities that make Ratmansky so in-demand as a choreographer.

The music by Leonid Destatnikov (the same composer of Russian Seasons) was haunting. If it sometimes sounds like movie music that's because it is -- it's incidental music from the Russian film Sunset. A mix of tango rhythms with Russian folk dance and a strain of traditional Jewish music. The setting was a smoky, dark ballroom where a group of six dancing couples are in the back of the stage and only intermittently aware of the drama between the three main couples: Sterling Hyltin/Joaquin de Luz, Tiler Peck/Taylor Stanley, and Sara Mearns/Amar Ramasar. The costumes by Keso Dekker were colorful and stylish.

The big departure for Ratmansky was the gender relationships in Odessa. Gender relations between couples in Ratmansky ballets are usually quirky, cute, even cloying. (Remember in Nutcracker how Clara plays peek-a-boo in the middle of the pas de deux?) In Odessa the dance hall becomes a trap for the women. Taylor Stanley grabbed Tiler Peck in an attempt to force her to dance. Peck wriggled, pushed, struggled against the sexual assault. She was still carried offstage with force. The next time we saw her however she was alone and walked downstage and did a seemingly endless series of pirouettes. It garnered applause. No one puts Tiler Peck in a corner.

Hyltin and de Luz, photo @ Andrea Mohin
Even creepier was the Hyltin/de Luz relationship. de Luz constantly reached out to Hyltin, trying to get her to dance. His efforts were not successful, as she proved elusive and non-responsive even when he did make contact with her. Her body bent as if she was traumatized from abuse. Finally a group of males carried her in the air, threw her up and down like a beanbag, and roughly manhandled her into submission. de Luz reached for her to prevent the gang assault. When she finally was released she slapped de Luz in the face. Why? The audience gasped. Only the Mearns/Amasar relationship was consensual. They danced a slow, if joyless dance together. The entire group of dancers and the corps gathered onstage for a dark, bleak ending where some of them already seemed dead.

The steps were always inventive -- sometimes resembling ballroom, other times folk dance, other times modern dance. It clocked in at 20 minutes and was compulsively watchable. Ratmansky is probably the most talented choreographer in making inventive steps for dancers and he's obviously branching out from his tried-and-true style. I just didn't personally enjoy the ballet as much as I've enjoyed his other works.

Here are the curtain calls for Odessa:

Kowroski and La Cour
As for the rest of the gala, not even the talents of Megan Fairchild, Joseph Gordon, Harrison Ball, and Aaron Sanz as well as some of the cutest costumes could save Martins' Jeu de Cartes. It's one of Martins' excruciatingly long, meandering pieces where when the curtain goes down you've learned nothing and felt nothing. After Jeu was that overdone gala piece, Wheeldon's After the Rain pas de deux. Maria Kowroski unfurled her long limbs, cascading hair, and jelly-like flexibility into the various gynecological poses of this ballet, while Ask La Cour proved a solid board for Maria to dive into constantly in the ballet's main motif. It's not my thing, but the audience loved it.

Bouder and Veyette
Thankfully there was some Balanchine -- Ashley Bouder and Andrew Veyette in Tchaikovksy pas de deux. These two are old hands at this sort of thing. Veyette ran out of steam in his turns a la seconde in the coda, so Ashley saved the day by leaping into his arms with so much force that a less experienced partner would have dropped Bouder face-first onto the stage. But of course Veyette caught her, and they repeated this gravity-baiting trick a second time, and by that time the audience was roaring and they were still roaring when Veyette carried Bouder into the wings. I guess that's the power of Balanchine -- he had the unmatched gift of making audiences delirious with happiness.

So how do I feel about Odessa? It's not a work that engenders instant love, the way Concerto DSCH or Namouna do. But I remember it. The vision of Sterling Hyltin struggling while being held aloft by men she is afraid of are still on my mind. And that's what is important.

Update: I saw Odessa again on May 6 with a different cast: Ashley Bouder/Taylor Stanley were the "Tiler/Taylor" couple, Unity Phelan/Tyler Angle were the "Sara/Amar" couple, and Megan Fairchild/Daniel Ulbricht were the "Sterling/Joaquin" couple. With the new cast the ballet was considerably less dark and disturbing. The battle between Ashley and Taylor seemed more like a lovers' quarrel than a violent dispute, and Megan did not exude the same kind of fear as Sterling towards the men. When she slapped Daniel she seemed more peeved than anything. Daniel Ulbricht made his character considerably less sleazy and menacing than Joaquin de Luz. It wasn't better or worse, just different. The music and steps are as watchable as ever.

Also on the program were two works that premiered in the fall: Lauren Lovette's For Clara and Peter Walker's ten in seven. For Clara now seems a better work than I remembered -- I liked her inventive work for the corps. Still don't like the aggressive partnering for the solo dancers, but I definitely see more structure and style in the work than I did in the fall. ten in seven on the other hand was much less impressive on second viewing. Still an enjoyable trifle but that's all it is.