In Kevin McKenzie's updated and re-imagined production of Giselle for the spring Met season, Giselle is a classically-impoverished equinerina and Albrecht makes gay porn.
Some of the worst crap-casting ever makes ABT's 2014 Spring Season at the Metropolitan Opera House look like a slew of stew nights at the diner where the customers end up spitting their chew into napkins.
Boylston dancing the title role in Giselle instead of Abrera, Kajiya, Lane or Murphy? It can't get any more offensive than that. No matter how much make-up is caked on the face, it won't hide the awkwardness, absence of musicality, and lack of grace. Add the gothic and unappealing Whiteside into the cast as Albrecht, and you've got one horror show.
McKenzie sure is hell-bent on making ABT the laughing-stock of classical ballet and denying meaningful careers to the company's best classical dancers.
Just as Haglund predicted when he observed three castings of Part and Gomes in this year's Nutcracker, they have no – zip zilch – performances at all together in the spring because Vishneva and Kent monopolize Marcelo. Julie Kent certainly has not followed the wisdom of leaving while they're still wanting more. No, she's continuing to grab new roles while the classical ballerinas who are starving for principal opportunities sit on the bench. Kent as Ashton's Cinderella? Seriously? What about the steps? As much as Haglund loves this ballet, presently there is not one ABT cast who will do it justice or make it worth seeing. None of the pairings is worth seeing. Not. Worth. Seeing.
And all of those TBAs for Cinderella and Manon? Does ABT think that its core audience has a collective IQ of -2? Those used to be Cojocaru's signature roles as is The Dream. It is sickening to see her name cluttering up the schedule again when she bailed out of 100% of her performances last year -- performances that should have gone to Sarah Lane in the first place, and certainly should have gone to Sarah when Cojocaru bailed. But when McKenzie is in a fix, his knee jerk reaction is to hire a guest dancer. When he's contemplating years in advance, his knee jerk reaction is to hire a guest dancer. And then give himself a big raise for all his work. No one should be surprised when all of those TBAs are awarded to guest dancers.
It's only a matter of time. ABT will meet the same fate as New York City Opera. Artistic bankruptcy today; financial bankruptcy tomorrow. Gosh, what will happen to the poor guest artists?