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June 20, 2018

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I’d love to know what the celebrina’s colleagues really think of her. Not being able to do the steps and still getting to do SL and Don Q is a luxury only afforded to her. It had got to be depressing for all the dancers that don’t get a shot.

She has enjoyed this type of "privilege" her whole career. I would imagine most of her colleagues are used to it by now.

Not surprised, Haglund. Not only were Teuscher and Shevchenko magnificent and sublime, but with the video evidence now on Youtube, I bet the celebrina fakerina knew people would be watching her coda closely. I was thinking of attending tonight's show, but instead I followed Isabella Boylston's advice and stayed home watching Youtube videos. It sure saved me a lot of money. Money that I'm sure ABT doesn't want or need right now.
I'm glad Lane is getting the chance to dance Giselle in Hong Kong. Her Giselle is a true masterpiece that people need to see, and she needs to take those performances before she gets rusty dancing 1 show per year at ABT. I hope she gets to work with Ferri and Bocca too.

"If you can’t do 32 fouettés and display all the necessary technical elements in the black swan pas de deux, then you probably shouldn’t dance this."
-Svetlana Zakharova

https://www.youtube.com/watch?v=HZhDww1Z7MU
(fast forward to 2:10 & turn closed-captions on)

And for this, Christine is shoved into a Wednesday matinee, and we don't get a Lane O/O.

And, to add insult to injury, we get to go through this all again next week when she omits the fouttees from Kitri.

Let's hope that Copeland has at least a shred of integrity and will punt that Don Q to Skylar Brandt who is ready and waiting AND prepared.

I'd like to point out at the Wednesday evening performance of Swan Lake that Sarah Lane, PRINCIPAL DANCER, was dancing in the Pas de Trois and it didn't look like a last-minute substitution. Of course she was beautiful, but I was appalled to see that ABT continues to keep her in this role at all.

a dancer, I imagine Sarah could dig her heels in and push back against having to do the soloist roles, but I suspect given how infrequently she's able to take the stage, she may just welcome the opportunity to prepare and perform.

Another symptom of mismanagement. That she is performing soloist roles, trickles down and means other promising corps dancers are not being given opportunities, but again, I don't blame Sarah.

Rachel - I completely agree about ABT's mismanagement and that's really what my comment was about. would never blame Sarah :)

ABT marketers called me last night to ask for money. After spending 15 minutes listing why I drastically cut down on the number of performances I attend, stopped giving money to ABT and started attending Pennsylvania Ballet, I was still asked I could at least give $100. Haglund, everything you and your followers discuss is why. Years past friends and I went to over 40 shows a season! This season 6 and I really had to look hard to find something worthwhile.

When the two pas de trois ballerinas have the technical chomps for O/O, and the actual O/O, well, doesn't. What a sham.

SherryD,

If anyone at ABT wants to know why tickets aren't selling, all they have to do is look on the internet. All the reasons are stated there--over and over again.

I am so tempted to head out to Hong Kong for Giselle with Gomes and Lane! Unfortunately, the 16 hr. plane trip, the cost, and the intense humidity in the South China Sea will probably keep me away. What a great gig for both of them, though. And speaking of great gigs, I can think of nothing better than Copeland joining the cast of the Michael Jackson musical. She'd be a great Janet Jackson! And what a perfect way for her to end her long physical struggle with dancing en pointe, plus no more nasty fouettes, pirouettes, grand jetes, etc. Wheeldon would have an instant box office draw, and an extra performance or two of every ballet at ABT would be available for dancers with actual technical skills. Maybe she can sing, too, who knows? Who cares? It's a win-win for everyone!

Thank you for promoting the Landmark's screening of SWANLAKE. I went to see RB's MANON on June 5; it was not sold out although there were only about 80 seats in the theater (fabulous recliners). The ROH announced 11 broadcasts from their 2018/19 opera and ballet season, and I hope the Landmark will show some of them, even if not live. Let's hope SWANLAKE will be sold out. https://www.roh.org.uk/cinemas

RoD,

Thanks much for the link. How incredible it would be to see the RB's Mayerling on the big screen in October. The Landmark Cinema's calendars are blank from September going forward; so I suppose it is still a possibility.

The Swan Lake which is still more than a month out is now 75% sold.

LLF, I don't know if Sarah and Marcelo are going to be partners in HKB"s Giselle -- but wouldn't that be a heart breaker?!

Re: Landmark Cinema
We have to keep checking their upcoming shows. When I left after MANON I asked about SWANLAKE but they did not know. The encore screening of the ROH's can be any day after the live broadcast. I'll keep you informed if I find out about it.

To arrive and find Hammoudi replaced with Whiteside.....

Yeah, that happened yesterday or the day before. Alex injured his back...

Gillian Murphy was radiant, Whiteside looked constipated, Forster was wasted as "evil" Rothbart. Can we please bury Whiteside underneath that hideous green lizard-monster leotard instead??

Whiteside was not terrible. He was supportive and ceded the spotlight to his partner. Murphy was expressive as always. Bell once again did a very commanding Rothbart. Gorak, Trenary and Stephanie Williams had a lovely pas de trois. Big Swans were just not great. Basmagy was alright but Gianderuso not so great. She almost fell out of a pirouette and there was no elegance in her port de bras. I can always tell where she is on the stage and not in a good way. Courtney Lavine and Katherine Williams were lovely princesses.
Overall it was a good outing. I didn't feel as much connection to this performance as I did on Wednesday matinee, but the crowd liked it.

Thanks for the reports, Jules and Anna. Glad to hear that Gillian was radiant and expressive.

Agree with Anna on this one. Was pleasantly surprised with Whiteside and thought he showed some constraint I am not used to with him. Gillian remains one of my favorite O/Os of all time, and last night solidified that. I think of the current ABT crop she benefits of having lived in that character for the longest, and it really shows. The speed of her fouttees was blazing last night, though she moved forward a lot more than I am used to with her, and she omitted any turns in fifth position with the arms which she has done previously. I imagine she just plays with them and some time goes for tempo over “tricks”. I also found that her fouttees matched the music better last night than they often do when she adds so many multiple rotations in. If I were Sigfried, I would have lost it right there!

(I don’t mean to over emphasize the importance of one sequence of turns, it was just in such stark contrast to the non-attempt two days before......)

When she appears on the side of the lake in Act IV, I thought he was going to touch the back of her heels her back was so far bent back in sadness at the betrayal of Sigfried. She’s really a beautiful Odette. She makes you feel the years she’s spent in this condition and the hopelessness of escaping.

Enjoyed Aran’s (second?) Von Rothbart. His lines really are beautiful. He does need to work on projecting his “acting” into the vast Opera House. That isn’t an easy task, as we all know, the house is much too large for ballet, but the great ABT artists are able to overcome that. I think he will get there!

Agree with Rachel. Murphy is so familiar with this character that she inhabits Odette/Odile in a way none of the current principals do, and she is able to add so many little touches to it. Her arms are so fluid, one really believes she can become airborne.
I think Mckenzie intends to fast track Bell, which means poor Hoven and Forster will remain where they are. Which is a pity because they are short on male principals and as much as I don't hate Whiteside he is heavily overused. Just this season I've seen him in R&J, two Swan Lakes and about to see him in Don Quixote.

Anna, Why would Bell being fast tracked mean Hoven and Forester would be stuck where they are? I’m assuming Bell would move to soloist rank. So, Hoven and Forester could potentially move to principal rank. I think ABT could use all three of these dancers at the top.

For the record I have never posted a comment on a blog, Facebook or Twitter but after the June 23, 2018 matinee performance of Swan Lake with Misty Cop-Out I feel compelled to add my voice. My husband and I have been Saturday matinee subscribers at ABT for over 8 years. It was bad enough that we got stuck with her for Romeo and Juliet but after this latest performance I can honestly say that Stinkarina has lowered the bar for what is required of a principal dancer. Not only did she not perform the fouettés or even attempt one, but we are convinced the entire choreography was altered to accommodate Celebrina. Herman Cornejo did a lot of lifting and the corps dancers did most of the dancing. The crowds roared no matter what this "Poseuse" did or didn’t do.

Every principal at any performance of Swan Lake we have ever seen has attempted the fouettés even if they were a bit wobbly whether it was Pennsylvania Ballet, NY City Ballet or any other performance of ABT. Last week we attended the musical Anastasia and even the dancer who performs a revised version of Swan Lake for the show managed about 12 fouettés en pointe. Not even an attempt from a principal for what is considered a premier ballet company is outrageous. Again, it wasn’t just the fouettés it was everything, only the most basic moves that any good corps dancers would have mastered. A real phoned-in performance.

If you want to see something even more revolting, try going to the stage door after one of Fakerina’s performances. Famous, talented dancers will just waltz in and out while the rubes line up to catch a glimpse of "La Princesse" only to be told by her more than zaftig handler about the “Misty Rules” and that she doesn’t come out for selfies, photographs, etc. It must be disheartening and a morale killer for all the other “real” dancers.

Someone mentioned that they wonder what other dancers think about her. From past experience even former dancers do not want to go out on the limb and say anything unflattering about her. They will all say she is “a real nice person”. Honestly, if they told us she is a real frosty “B” but we knew she could dance we could care less because that’s what we’re paying for. It’s sort of like the current White House administration. No one dares criticize the Orange Emperor. The same goes for "La Reine du Sans Talent".

Francois, I've encountered her handler(s) too. I don't know what's worse aka more pathetic, the "briefing" at the stage door or the "brace yourselves / follow the rules or else" talk given to teenage girls during the "Celebrina tour" I happened to run into while waiting for this year's Lane/Simkin Giselle. Remind me never to be too early for a Wednesday matinee performance again. I seriously wanted to yell "Oh shut up and let them see the girl already, sheesh!!" I didn't dare to since it was pouring outside and I didn't want to get escorted out.

Hi, Francois.

Most likely, her "zaftig handler" and others on her publicity team are banking on the notion that in the long run, the general public will only remember Misty's favorable publicity and not the fact that she was a terribly deficient classical dancer who played the race card to get opportunities that she didn't deserve. They may be right, too. Unfortunately for her, there will also be many people who remember not only her embarrassing limitations as a classical dancer but also the fact that her entire celebrity was launched from a platform of dishonesty, a platform of feigned victimization, a platform of lying about her accomplishments and about her experience with racism.

I have no doubt that her colleagues are reticent about discussing her in anything but the most favorable terms. Like any big corporation, ABT is an employer where the employees are compelled to work productively with one another and to get along with one another. They have to talk the company line which mostly revolves around Misty, the celebrina these days. If a dancer is urged to plant a picture of himself with Misty on I-gram and say something complimentary, it isn't likely that the dancer will decline for fear of looking like he or she is not a good team member.

The way some of these dancers deal with her might be just to out-dance her to such an extent that it causes her to choke. I think we saw that in Swan Lake this past week, and we certainly saw it during Swan Lake in Washington DC last year when Misty withdrew from performances immediately after another dancer's brilliant debut as Odette/Odile.

One of the fouette wizards this past week who so embarrassed the celebrina was the same dancer who as a Nutcracker Sister some years ago was on the receiving end of a public and very unprofessional on-stage tongue lashing from Misty when the celebrina fell on her ass and apparently was angry with the corps dancer about it. Sometimes it takes a while for what goes around to come around.

Shevchenko danced a magnificent Kitri tonight replete with exuberant fuettes and hops on pointe and prolonged arabesques. Misty is dancing the same role tomorrow. I wonder how that will go... Hoven was a resplendent Espada. My mother immediately asked why he was not dancing Basilio. Why indeed.

Looks like the Landmark has added another screen for Swan Lake. YES!!

Haglund, can you elaborate on the public tongue-lashing?

Thanks much for noticing the additional screening.

I've elaborated on the celebrina's tongue lashing before. She was a Nutcracker Sister along with Devon Teuscher when she fell on her ass on an exit toward the very end of the ballet. When the Nutcracker Sisters returned to take bows, Misty began trashing Devon who was on her right side, complaining with her big mouth wide open and tongue wagging while she shook her head. Then she looked out at the audience and assumed her fake smile. It was one of the most horrible, unprofessional displays that I have ever seen on a ballet stage.

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