ABT – Big Debuts in Le Corsaire – 4/13

Another day, another seven hours on the train going back and forth between New York and Washington DC trying to see ABT's own artists dance the roles that they deserve to dance.  Having seen two brilliant casts of Le Corsaire this week at the Kennedy Center, Haglund feels that he doesn't need to see any Le Corsaires at the Met this spring if the casts have been "artificially plumped up" with guest stars and imports.  So, it looks like in addition to passing up Swan Lake, he'll pass up Le Corsaire.  If ABT comes to its senses and recognizes the brilliance of its own dancers throughout its ranks and casts more of them in the principal roles, then maybe they can get their sticky fingers in my wallet.

Today's debuts were Joseph Phillips as Ali and Luis Ribagordo as Birbanto – both tremendous successes. 

Debuting in Ali has got to be a lot like standing at the top gate of the downhill slalom and realizing that the course is solid ice.  There's no fluffy snow to soften a fall.  Everyone's eyes are on you as you fly over the course bouncing off the jagged terrain, and your chances of a major catastrophe are about 50/50.  Or, you could post a winning time, as Joe Phillips did this afternoon.  Oh, he was excited – no doubt about that.  A couple of times when he was required to go to his knees, you could hear the kneebone meet the Marley all the way up in the balcony.  He got bruises today, but he probably doesn't care because the roar of the crowd can be pretty soothing. 

Once again today, as it was on Thursday night with Cornejo, Phillips' Ali paid respect to the Art of classical ballet while whizzing around the pirates' cove performing maneges of streamlined coupe jetes and double assemble en tournant.  His first burst of bravura had some of Corella's lightning which was great to see.  Hopefully in time, that intensity will find its way into more of the variations.  When Corella danced this role, his eyes told you that he had left the planet – that's how intense he was – and you wanted to go with him.  Phillips' Ali isn't going to become world class by having Joe sit around and watch Vasiliev dance it twice at the Met and three out of the four performances in LA in July, according to the Ardani website.  Phillips needs to get his slave out on the stage just like everyone before him.

Today was another opportunity to witness an artist's breakout performance.  Luis Ribagorda's debut as Birbanto was so strong that it was hard to believe it was a debut.  The guy has great leg lines and all the technique necessary to perform any number of major principal roles.  His pirate-menacing approached that of Craig Salstein's.  By the way, Birbanto did not acquire a ponytail as reported Thursday night; it's just a really long black headscarf which at times looks like a ponytail.  Also, some of this cast's costumes were a little different in color from the opening night cast's costumes.  On Thursday night, Salstein's costume included a gold top with red trim.  Ribagorda's was red with gold trim.  If Ribagorda doesn't get major playing time in the Birbanto-position from now on, then it's just another thing in this damn world that ain't right.

Herman Cornejo, Xiomara Reyes, and Sarah Lane were a dream team this afternoon.  There was some unexpected drama during the Act II bedroom PdD, however.  In the middle of some of the most tender choreography, there was a little flash of light and then all of the utility lights in the stage ceiling came on flooding the stage with light.  While all these ridiculously bright lights were on, one of the spotlights could be observed hovering over the floor at the back of the stage without a dancer anywhere near it.  Herman and Xiomara didn't miss a step but looked like they might break out laughing at any moment.  After about two minutes, the ceiling lights slowly dimmed and the evening lighting returned.  The lighting system's output at the Kennedy Center has been substandard for ballet for a long time.  Maybe ABT's requirements stressed it out this afternoon.

Herman was magnificent in the role of Conrad.  Nobody looks better in white tights than Herman.  His variations were spotless, full of force and finesse, and he led both Phillips and Ribagordo through some very solid acting scenes.  Xiomara's high energy sent her wayward once or twice, but overall, she gave a very strong technical performance and a fabulous theatrical one.  She puts out a lot of energy on the stage that the other actors can play off.  The audience was totally captivated and so was Haglund.

Sarah Lane was quite simply out of this world gorgeous – with full out dancing, full out acting, generous interaction with the other players on stage, and incredible physical beauty wrapped in all those new beautiful costumes.  Strength, coordination, grace, and guts.  Why oh why is ABT shopping at Kmart for imports when it has this beautiful dancer along with the stunning Stella Abrera?

Daniil Simkin danced the role of Lankendem.  He executed some fine tricks but, theatrically, was  small.  Sascha Radetsky turns Lankendem into a meaty theatrical and dancing role.  Simkin's character, despite a gala of fine tricks, came off as being rather insignificant.  His partnering of Sarah seemed okay and their coordination appeared almost perfect.  She seemed confident in him today which is a good sign.

The new Act III tutus are quite beautiful.  Lots of pink with gold, some pale yellow bodices -- all very pretty.  But ABT needs to rename the corps groups who have always been Women in Orange, Women in Yellow, Women in Red, because there are no red or orange costumes.  Of course, they know that and were probably hoping that no one would bring it up.  The lighting at the back of the stage was quite dim for this section -- maybe intentionally, or maybe as a result of the electrical problems in Act II -- so, it was a little hard to see what was going on back there.  If this is the new lighting concept, it's a bust.  Why spend gobs of money on gorgeous new costumes and sets and then under-light them so the audience can't enjoy them?

Well, the train is about to pull into Penn Station; so let's pull out a Pirate Gold H.H. Pump Bump Award for Joe Phillips and Luis Ribagorda.  And let's hope for more big opportunities for them.

Comments

[dc]

Haglund, I so admire how articulate you are. Especially, since I almost always am in agreement.

I was moved by Cornejo's generosity of spirit when he directed attention to Phillips during the bow after the pas de trois, a beautiful gesture.

[Haglund]

Thank you, dc.

Yes, that was a very kind moment between Herman and Joe.

It sounded like the audience loved the production. I heard many positive comments and most had to do with a preference for story ballets over abstract.

[Kallima]

Thank you for your reviews. As always, it is nice to read about the performances of the company's own artists instead of the squealing about Osipova and Vasiliev one can find everywhere these days.

[Haglund]

Hi Kallima. Some people just can't get enough of McDonald's Big Macs & fries.