Thanks to CMM for alerting us to the new casting for the premiere performances of Ratmansky's Whipped Cream in Costa Mesa in March. Stella Abrera, David Hallberg, Sarah Lane and Daniil Simkin will star in the world premiere on March 15th and at the final Sunday performance. The second night and Saturday night boasts Herman Cornejo, Cassandra Trenary, Hee Seo, and Cory Stearns. Gillian Murphy, James Whiteside, Simkin, and Lane will dance at the Saturday matinee.
Haglund is approaching Whipped Cream exactly as he approached the Met Opera's Hansel and Gretel. On the surface, it will be for kids with all the fantastical scenery and costumes designed to appeal to their little imaginations. But it will also include enough impressive dancing to appeal to adults. Haglund loves the Met Opera's Hansel and Gretel. Hopefully, Whipped Cream will be good, too.
Seeing Hallberg and Abrera together for Whipped Cream will be nice, but it ain't gonna be no Giselle. Come on, ABT, fork it over. Get it on the schedule somehow, some way, somewhere -- and we are not talking about Oman, either.
In other good news, a brand new David Howard Foundation Scholarship has been inaugurated at Ballet Academy East in Manhattan. The scholarship will be awarded annually to a BAE student to help support tuition and housing. The first recipient is Tallison Costa from Brazil.
This is such good news. We all miss David Howard so much. Still today on the ballet stages of New York, Houston, San Francisco, and other places, one can see his positive impact on dancers. He did so much to help students understand the whys & hows of good classical technique. It's nice to see BAE, one of the top ballet schools in New York, create this opportunity for students.
Washington DC – This is a town where conspiracies – real and imagined – abound. Today at the Kennedy Center (whose name is this country’s surname most laden with conspiracy theories), the town’s inhabitants fully related to and appreciated the schemes, deceit, and treachery that the glamorous witchy-bitchy Odile was calculating in Act III of Swan Lake. The folks in the seats could identify with Odile's dishonesty and were charmed by it. She began her Black Swan variation with:
(triple en dehors pirouette + double attitude turn en dehors + stopped on a dime in plie on one leg) x 2
For those who can’t interpret that equation, don’t fret; it’s advanced balleculus. It may be easier to envision her tornadic blast of 32 fouettes that included 16 counts of multiple revolutions, her stunning balances that reminded one of the stillness of a cobra before it strikes, or her teasing smile.
In only her second performance of the role, Devon Teuscher made quite a statement about what it means to be a Petipa-qualified ballerina in Swan Lake. She is the first new one that ABT has introduced in a dozen years who possessed the technical, stylistic, and artistic qualifications for the dual role. That little description of her Odileness in the paragraph above was just a teaser. The soul of her Odette was the real story today. Her character's emotional depth was revealed with fine detailing via the use of the head, neck, eyes, and of course her beautiful port de bras. Her swan arms were not the fussy type that we see commonly today. Rather, they seemed to be part of her character's breathing mechanism. She told her story with urgency but was never rushed. And, oh, the mime at the lakeside was so heartfelt and clear - from the hand gestures that sculpted the waves of the lake water to Odette telling us about her mother’s tears and showing us how they rained from the tips of her fingers.
There were times during the afternoon when it seemed Devon’s swans had been imprinted with Nina Ananiashvili, especially her Odile in the way she threw an evil glance over her shoulder while walking away or in the way she teased Siegfried with her eyes. At bows, it was tempting to start bellowing “Deeeevon Assoluuuuuta!”— if you will recall Nina’s fan who did that for her at nearly every performance.
Of course, and we all know this – Devon’s performance was as much Marcelo Gomes’ as it was her own. The two had great chemistry, especially as Siegfried and Odile and clearly enjoyed the give and take of the Act III drama (she gave him a load of BS, and he took it lock, stock & barrel).
Marcelo has returned to his youth - at least today it seemed so. That 37-year-old arabesque was looking mighty 90 degrees-y. His battements even went beyond that. Do you remember that sweltering summer of 2011 when Marcelo owned the town with his magnificent performances as Siegfried, Armand, Albrecht, Prince Charming, and literally stole the limelight from Derek Jeter and his 3,000th hit? Well, that is how well he danced today. Devon could not have had a more perfect partner who selflessly did everything he possibly could to ensure that she gave her best performance. His effort started long before today, however. Last year he invited Devon to join a small group of dancers who performed in his home town in Brazil. Among them, Gillian Murphy and Stella Abrera. Marcelo assigned Devon the Black Swan PdD to perform several nights in a row opposite a talented ABT corpsman. It was in this low spotlighted environment that Devon was able to put her Odile on the stage for the first time. She probably never thought that it would excite people the way it did when video clips of her time in Brazil surfaced. But we suspect that was Marcelo's plan all along.
Unfortunately, it doesn’t appear that New York will get the Devon/Marcelo pairing in Swan Lake this spring at the Met. Devon will dance very well opposite Alex Hammoudi instead, but Alex will have to work nonstop from now until June to come even close to Marcelo’s theatrical performance. Let’s hope he does, and let’s hope that someone knocks some sense into Kevin McKenzie’s head about the Met scheduling which rewards the underpowered, over-ballyhooed celebrina two performances of every ballet when she shouldn’t even have one. She was humiliated this week by her own lack of skill which was further highlighted by Devon’s remarkable performances, and the celebrina ultimately cancelled her second performance after claiming an injury. Ego bruises are serious injuries, too, we guess.
We’d like to be able to see this Devon/Marcelo matchup on the Met stage, and there should now be an opening created for it — just like there should be Kitri openings created for Cassandra Trenary and Skylar Brandt, and above all, a Giselle opening created for Abrera and Hallberg. This business of feeding double performances to the celebrina who can’t do the job is nonsense. Stupid nonsense.
Debuting at this Sunday performance as the purple-clad, handsome von Rothbart who escorted Odile around the ballroom was Calvin Royal, III. He got an excellent start on the role. His long legs made strong impressions with the grand sissonnes during his variation. He couldn’t do much with the balance in which the working leg raises to arabesque, but he covered it fairly well. In recent years, we have missed seeing the von Rothbarts throw the torso contractions the way Vladimir Malakhov did as he made his final pass around the crowd in the ballroom. That was exciting. We could also use a reminder of what Hallberg did with this role. That would be nice to see this spring at the Met. He was insane as von Rothbart - eyes bulging, fingers ready to kill, hair seemingly electrified. Loved it.
A few notes on other performances:
Tom Forster was ferocious as the swamp creature. Excellent job. Blaine Hoven as Benno has truly become Siegfried in Waiting. We don’t want to see him as Benno ever again; it is way past time for his Siegfried to be revealed. His two partners in the Pas de Trois, Zhong-Jing Fang and Stephanie Williams were a stylistic mismatch. Zhong-Jing’s hyper-accenting has mellowed quite a bit; she was quite lovely in her variation. Stephanie has always been a bit too mellow in her dancing and was so today. More dynamic is needed along with better entrechats. Today’s beats were generally not good throughout the corps. The Cygnettes (Rachel Richardson, Betsy McBride, Nicole Graniero, and Gemma Bond) nailed their two-minute dance. The Two Big Swans modified their jumps so that they were only at about 90-110 degree angles. The swan corps was well-drilled but without poetry. There are un-swan-y physiques in the corps that should be culled.
What in the world is McKenzie waiting for as far as advancing Marshall Whiteley into more meaningful roles? Given his size and capabilities, he should be doing much more. Yes, there can be improvements in his arms which today sometimes looked a little martial arts-like when they finished, but he is a fine dancer - much better than the vast majority of the corps men. Speaking of the corps men (and some corps women, too), what is this business of placing the hands like a tent overhead when doing pirouettes instead of using a classical fifth position? Where is this coming from? It looks dreadful. Also, this habit of bringing the sides of the wrists together to touch while the palms face downward when moving the arms from second position to first is awful. We even saw it in a preparation for a pirouette. Why are dancers suddenly touching themselves with their port de bras? Does it feel good? Is it stimulating? Well, it looks terrible.
In closing, of course the H.H. Pump Bump Award is bestowed upon Devon Teuscher. She gave a truly incredible performance today, and we were very happy to see her and Marcelo dance so well together.
It's a relief to hear that David Hallberg will shortly return to The Australian Ballet for rehearsals and two performances of Sleeping Beauty which TAB opens in Brisbane on February 24th. A few too many consecutive weeks of McKenzie's nonsense at ABT while home could unravel a lot of the good accomplished over the past year in Australia.
As we have pointed out here previously, McKenzie is pushing out the company's most extraordinary classical ballerina, Veronika Part, the way he pushed out Irina Dvorovenko and Angel Corella by simply refusing to give her enough performances to maintain stage conditioning and a career. We are becoming increasingly upset and agitated by rumors of Veronika's possible pending departure. Hopefully these rumors will turn out to be false, but as we watch Petipa role after role turned over to the company's clumsy dumpsters Copeland and Boylston, we have to wonder why Veronika puts up with the humiliation at ABT. What next - a Mercedes assignment in Copeland's Don Q? We gag at the thought of it.
What a shame that we in NYC are not getting more generous access to the Royal Ballet's live cinema transmissions this year. The company will film its performance of Balanchine's Jewels in April with the cast of Beatriz Stix-Brunell, Laura Morera, Valeri Hristov, Ryoichi Hirano in Emeralds; Melissa Hamilton, Sarah Lamb, Steven McRae in Rubies; and Marianela Nunez and Thiago Soares in Diamonds. A couple of years ago, Haglund spent many mornings staring at Marianela and Thiago in Diamonds while waiting at the bus stop in Hell's Kitchen all the while wishing that he could see their performance.
That's going to be a fab April week in London because in addition to Jewels, the London Coffee Festival will be in full shakin' swing at the Old Truman Brewery with its famous barista tournament and a brand new live exhibition of latte art. Get your tickets here. The Coffee Festival will be back in NYC at the 69th Regiment Armory (Lex & 25th St.) September 29th through October 1st.
We're so glad to see a full return of Maria Kowroski during the very first week of NYCB's Winter Season. Prodigal Son opposite Joaquin De Luz should be riveting. The Sunday Stravinsky Violin Concerto with Hyltin, Fairchild, Kowroski, and Ramasar is one that no one should miss unless you are too pooped from marching in Washington D.C. the day before. Then, that's okay to miss it. We're also excited to see that Aaron Sanz is getting a couple of new opportunities during the first week. He should be an awesome father figure in Prodigal Son and handsome opposite Megan LeCrone in the Theme section of Four Ts.
On Sunday, January 1, 2017, Manhattan’s East Side Art Train smoothly waltzed up its sparkling clean, brand spanking new tracks toward 96th Street along Second Avenue in a wedding dance of sorts with well-wishers snapping pictures and cooing about how beautiful the event was. Posing for photos with the art along the walls, touching Chuck Close's glistening mosaic face, admiring the blueprint beauty created by Sarah Sze – the city's citizens were romantically engaged with the new surroundings. Folks hopped off the train at 72nd Street and wandered about as if in a museum. Then they climbed back on another Q-line train heading uptown to 86th St, de-trained for a few minutes to observe the artwork, and then continued up the track to the end of the line at 96th Street. This was such a Qool way to ring in the New Year.
It is but once in a lifetime that a New Yorker will see this:
Trash-free, rodent-free, dirt-free subway track. You could eat off of it – well, maybe not – but you get the point. It's beautiful.
Haglund made a little vid of the Art Train with its special paint detailing as it whizzed into the station. Wooo-ooo-whooo chug-chug-chug-chug – train freak heaven.
And who should Haglund encounter upstairs but one of his most favorite uber-aggressive liberals, Governor Cuomo, who was pretty happy being out and about and among folks who were admiring his new subway. Good job, Gov.
After a fun-filled New Year's Day, we're back here at the H.H. office slaving away.
NYCB 2017 Art Series
How excited we were to discover that NYCB's 2017 Art Series will be a video installation by Brooklyn-based Finnish artist Santtu Mustonen. His work includes heavy doses of surrealism which he believes stems from his lifelong neurological condition called Alice in Wonderland Syndrome, a disorienting condition that affects perception that results in size distortion. The artist says that when he closes his eyes, he feels that he is way too big or way too small for his environment. And when he looks at a scene, only one item is sharply focused while everything else is blurred. We can expect lots of color and a full use of the scale of the promenade. Probably lots of flash, too; so, we'll try to remember to pop a couple of Advil before the event.
Art Night at NYCB will be on January 28th, February 3rd, and February 23rd with three different programs being danced. Hey NYCB, what about our souvenirs? There's no mention of our free souvenirs anywhere. No mention of free beer, either. Come on, NYCB, don't mess with what works. Haglund's Dustin Yellin souvenir book from the incredible Art Night installation a couple of years ago is still one of the most picked-up items on his coffee table.
Public viewing (free) of the installation will occur during daytime hours from Saturday, February 18th through Sunday, February 26th.
Meanwhile, we got our tickets for Week 1 of NYCB's winter season and are hungrily awaiting those first performances of 4Ts and Stravinsky Violin Concerto.
We're keeping a close eye on the ABT schedule awaiting the Murphy/Hallberg/Abrera Giselle to appear in black & white and hoping for the much needed changes to appear in the rest of the Giselle schedule if it is to be saved. We need an additional Abrera/Hallberg Giselle, not a couple of dumpster Giselles trying to pose gracefully for Instagram photos. The pairings for Onegin need to be re-thought as well. We don't want to see Hallberg dancing Onegin opposite a Tatiana who cannot think beyond Juliet. Tatiana is not Juliet – got that, ABT?
Now that Hallberg is back, hopefully his full concentration will be in the studio and he will avoid accommodating the media who salivate at the opportunity to make money off of him. We also hope that he's not wasting valuable time penning some insipid dancer memoir about how tough life has been. We can't take another one of those fictional fakes. Regardless of Hallberg's bumps in the road, he has led a rich fairy tale life that few others will ever get the opportunity to live. Suffering artist? Save it, please.
Everybody, please get back to work preparing the art for the stage, not Instagram.
Some potentially hopeful stirrings in the ABT Met Season casting have been sighted by our eagle-eyed Haglund'eelers. The Saturday evening Giselle cast has been relieved of its low-end Albrecht which opens up the possibility that the now-TBA could possibly evolve into a Murphy-Hallberg-Abrera performance. Wouldn't that be da bomb?
Unfortunately, poor Veronika got saddled with the ejected one for her Siegfried.
Also, changes are afoot for the Whipped Cream opening performance cast. Hopefully, it will go to a real ballerina. The real ballerina who we're thinking of, unfortunately, did not win the empty slot in Mozartiana. We would rather have seen Christine Shevchenko, who has now appeared in the slot, cast in The Golden Cockerel and Stella Abrera given the all-important Mozartiana. Actually, we wish that ABT would stop dancing Balanchine's works in New York until they can cease offending them (and us) with the likes of Boylston, Seo, and Copeland, and until they can get a Balanchine stager who is concerned about quality more than mannerisms.
That rep program that ABT plans to present in July is a waste. Just look at the Wednesday matinee: AfterEffect and Aurora's Wedding – that's it. And ABT should forget trying to make people interested in seeing The Nutcracker in July – or October 2017, for that matter. Everyone should save their money for the NYCB/POB/Bolshoi Jewels performances that will come up later in July. Do better, ABT.
Just what exactly is going on here?
"I have another piece for piano and string quartet based on a Ted Hughes poem, 'The Crow Falls', which will be choreographed for the prima ballerina Veronika Part. We’ll be performing that next March in New York at the invitation of Philip Glass at Carnegie Hall. It's a very big project and a lot of work, but I'm incredibly proud of it".
That quote is from an interview with keyboard great Roger O'Donnell in Collide Art & Culture Magazine. [The correct name of the poem is Crow's Fall, not The Crow Falls.] The only thing that we see on the Carnegie Hall calendar where this would be a possibility is on March 16th when the Tibet House US has a 30th Anniversary Benefit Concert Celebrating Philip Glass's 80th Birthday. In addition to Patti Smith, Iggy Pop, and Laurie Anderson, the line-up includes the Scorchio Quartet, an alternative classical group who used to hang with David Bowie. Boy oh boy, an evening with Veronika during the mid-March ballet drought would be The Cure for what ails us.
We need details, people. Let's go, let's go, let's go.
Only three Nutcrackers left at NYCB. Don't know whether to cheer or cry, because the six weeks has produced such wonderful performances. Perhaps if Haglund doesn't win a Rush Ticket to tonight's Nabucco at The Met, he'll crack open the wallet for one last Nut.
Thanks much to Haglund'eeler Grahame down in Australia for alerting us to these fine photos!
Australian photographer Kate Longley has been shadowing David Hallberg during his Coppelia performances at The Australian Ballet this month opposite ballerina Amber Scott. It is a healthy, robust looking Hallberg who has emerged from his ordeal. The last time we saw him on stage, he was so gaunt that his head looked too large for his body. No more.
Looks strong from behind:
More photos and text on The Australian Ballet's website.
Hopefully McKenzie will not spoil the jubilation, this dancer's elegance, or everyone's joy at seeing him return to ABT by matching him up with a freakin' hillbilly ballerina in an effort to make that freakin' hillbilly look better. As we've said before, we've waited a couple of years for him to return, and will wait longer, in order to avoid seeing Boylston, Copeland, or Hee Seo try to legitimize themselves at the expense of an accomplished danseur. Nobody gets our money for that kind of cheap, disgusting manipulation. McKenzie has to realize that he should match the homely, unclassical, dumpy, inelegant, inept, unworthy dancers with like-partners. Just get them out of the way so that the people who truly appreciate classical ballet don't have to attend performances where their gag reflexes will be overworked.
(Naomikage, please try to curb yourself and not use this blog as an indirect, uncredited source for BA posts. Thanks.)
Here's a picture of our beautiful Stella Abrera in a recent photoshoot for the new ballet Whipped Cream by Ratmansky. She's costumed as Princess Tea Flower:
The Bocca teasers and rumors are still alive. Julio met the press recently to discuss Ballet Nacional del Sodre's tour of Spain this week where it will perform Enrique Martinez's Coppelia. Among the Swanildas will be our own Maria Riccetto shown below as she clocks Franz. Ouch.
During the interview with the press, Julio said that the company will open the Cannes Dance Festival next year. The festival which runs December 8-17, 2017 is currently directed by former POB AD Brigitte Lefèvre. Bocca's plans include a brand new production of Sleeping Beauty in 2018. Then there was this (translated via Google):
On rumors that he could lead the American Ballet Theatre, where he was principal dancer 20 years, Julio Bocca said that "perhaps in the future", but does not know if now would like to live in a big city.
At the same time, he revealed that next year, on the occasion of his 50th anniversary, will be honored in New York, for his career, which ended as a dancer on December 22, 2007 in Buenos Aires, where he danced on the Avenue July 9 Before more than 300,000 people.
The bold text is that of the Espectador.com journalist. So if Julio is coming to New York for his 50th birthday celebration, can't we finally get a deal done while he's here? (His birthday is in March.) Sure, he says he doesn't know if he wants to live in a big city – which is why he's kept his UWS condo all these years. Come on, gimme a break. ABT Board, you get this deal done. All it would probably take to ink him is a fair salary and a little place in The Hamptons where he could escape on the weekends. Maybe Hallberg would be willing to spend a little more time in town if Bocca was leading the team. We need this guy running the show. Still so handsome:
One of our loyal Haglund'eelers alerted us to the upcoming livestream of the Royal Ballet's rehearsal of some part of Sleeping Beauty. Dame Monica Mason is involved although we don't know who the dancers are yet. These livestream rehearsals, which are similar to the Donor/Friend rehearsals that many of us attend at companies around the U.S., are very interesting and more than a little useful to anyone who currently performs or aspires to perform in the roles being highlighted in the rehearsal. Most of the livestream segments are archived on the RB website but are not necessarily easy to locate.
Date: Tue, Nov. 22nd
Time: 7:10 pm GMT (2:10 pm Eastern Standard Time) Sometimes the start of the rehearsal is delayed by several minutes to a half hour.
For more information, check this page at the ROH website: http://www.roh.org.uk/news/watch-rehearsals-for-the-sleeping-beauty-to-be-livestreamed-on-22-november-2016
Here's nice little human interest piece on NYC Ballet's Amar Ramasar that just popped up on People online's American Doers: http://people.com/human-interest/amar-ramasars-journey-from-the-bronx-to-center-stage-at-lincoln-center/
If you've been heavily sedated for the past week and a half and haven't heard: Devon Teuscher will debut as Odette/Odile at the Kennedy Center opposite Marcelo Gomes on Sunday January 29th at 1:30pm. Wow, a brand new Odette/Odile who can do all of the steps like a professional classical ballerina should be able to do BEFORE she's given the role. ALL of the steps.
One has no way of knowing how Washington DC will have devolved by that Sunday, but we're going to take the risk and try to make it down there for this happy event.
Thanks to former ABT corps de ballet dancer Nicola Curry, now flourishing at The Australian Ballet, for giving us this ray of hope regarding David Hallberg’s recovery and return. Siegfrieds in ten performances of Swan Lake still are not cast (seven in Washington DC and three in New York); maybe something will come of this. Unfortunately, McKenzie continually douses flickering ticket sales by trying to force people, who are appalled by the poor dancing of one artist, to buy a ticket to see an outstanding artist who has been coupled with the atrocious one. How dreadful is the idea of seeing Hallberg try to pull off a comeback with integrity in a Swan Lake opposite the likes of Boylston, Copeland, Seo or some obnoxious guest artist. Hopefully, reason will reign, but don’t count on it. There’s no reason to believe that most of the Swan Lake pairings won’t be just as awful as they have been in recent years.
While we’re exceptionally interested in seeing Devon Teuscher’s upcoming Swan Lakes, a poor matchup would prevent us from buying tickets - just exactly like it stopped us from buying tickets to Veronika Part’s Swan Lake last year when she was cast with Whiteside. Nor are we going to invest in the absurd combination of Copeland and Cornejo. We’ll leave Valentino Carlotti to buy all the tickets for those performances and give them out for free.
Now that Copeland has proven several times that she cannot muster the technique required for a professional level Swan Lake, McKenzie has rewarded her with double the number of performances and two performances of Kitri which require even greater technical abilities. But her fans never know when she’s not doing the steps, anyway, nor do they care. She’s like the Trump of ballet; she triumphs through their ignorance. She’s popular so long as the tickets are purchased by her sponsors and given out free; but without her sugar daddy and sugar agent she can’t muster a butt in a seat.
We were excited to hear that Christine Shevchenko would be dancing Kitri until we learned that she would be dancing opposite the import Alban Lendorf whose atrocious lines due to his wide backside and thighs make it impossible to enjoy any ballet that he’s in. He’s even worse looking than Vasiliev although he can manage something closer to classical technique. Trying to watch him during Ashton’s Symphonic Variations was the second most unpleasant experience of the fall season. So, it looks like we’ll skip this Don Q, too. We should be seeing Calvin Royal III as Basilio opposite Shevchenko since they are preparing a Don Q PdD for an ABT benefit. Shevchenko will certainly wipe the floor with the other Kitri debutante; her technical ability and artistry are so far above and beyond Copeland's that it is a shame that she’s not the one getting a second performance during the run of Don Quixote with a complimentary Basilio. The greater shame, however, is that Skylar Brandt and Cassandra Trenary, both of whom are heads and shoulders above Copeland in technique and artistry and would also wipe the floor with her in a Don Q, are being made to sit on their hands. We understand that it is their white privilege that has kept Copeland from practicing her fouettes and hops on pointe all these years. But no worries – since her fans with free tickets won't know what they're missing, Copeland can just leave out all the hard steps and still bask in their cheers.
We were very excited to hear of Stella Abrera’s debut in Onegin. But after seeing Cory Stearns wash out at City Center in The Leaves Are Fading, we’re more than a little concerned about what he’ll be able to muster opposite Stella. He has always risen to the occasion when he has been onstage opposite Dvorovenko or alongside Gomes – two artists who demand high level performances from everyone on stage – but when he has to help carry the evening voluntarily, he’s often not around. We just don’t know what to expect but are not particularly hopeful.
It will be wonderful to see Stella reprise her gorgeous Giselle opposite Gomes for his 20th Anniversary celebration. She is, after all, the company’s best Giselle. How ridiculous to see that Copeland, who should not come within a mile of any Petipa tulle ballet, has been granted two performances opposite the ill-fitting, gross in white tights Lendorf. It will be like watching two tanks together lumbering around on the stage. But of course, her fans won’t care because they don’t know any better. Like Trump, she triumphs through their ignorance.
As far as the new Whipped Cream, we have no high expectations that it will be anything other than the same steppy stuff that we’ve seen in most of Ratmansky’s choreography – overloaded with steps, overloaded with costumes and kitsch, overloaded with fake childish charm. Hopefully, it also won’t be overloaded with remnants and borrowings from this Whipped Cream/Schlagobers ballet choreographed by Karl Alfred Schreiner for the Ballett vom Staatstheaters am Gärtnerplatz. It looks exactly like the kind of stuff to which Ratmansky aspires.
We’re afraid that the ABT's spring season of ballet will not be the beauty that saves the world or soothes our souls.