There was a time when ABT’s audience members did not frequently go to NYCB performances, and vice versa, because they were hungry for different things. ABT’s audience feasted on the big spectacle dramas while NYCB’s audience wanted highly-seasoned steps, speed, and energy. That’s not really the case any more. Many, if not most, of the core audience members gorge themselves on the offerings of both companies. These days balletomanes want it all — a full course meal of spectacle, drama, steps, and energy. Expectations are high, as they should be, because ticket prices are so high.
ABT’s new full length ballet Like Water For Chocolate by Christopher Wheeldon is handsome from a production standpoint but it needs a little more Whipped Cream. By that we mean where Alexei Ratmansky tended to indulge in a few too many steps, Wheeldon could have used a lot more. The choreography was thin in places due in part to Wheeldon’s effort to literally transcribe Laura Esquivel’s story text into movement. We got theatrical movement but not ballet. The problem was exacerbated by Joby Talbot’s cinematic score that does not provide a strong architecture in which narrative choreography can be embedded. The score lacks the dramatic range that would allow it to stand on its own as a musical work despite its extravagance and Mexican-themed rhythms. A score that is too weak to stand on its own and make its own statement is not going to lift up a ballet. At one point, a sudden burst of horns and percussion shouted excitement and then stopped like maybe Anthony Quinn had arrived in Viva Zapata! Too cinematic, too telenovela-like, too backgroundish. A ballet score is never background music to the dancing or to any of the action on stage. It is an integral part, an impetus, a controlling, motivating partner in the ballet. Balanchine reportedly once said, “It is the music that dictates the whole shape of the work."
In a nutshell, the LWFC story conveys the traditional obligation of the youngest daughter to withhold marrying in order to take care of her mother through the end of life. This particular youngest daughter, however, falls in love and wants to marry. She is as hot for her man as water for making hot chocolate. The mother salvages the daughter's traditional obligation by insisting that the youngest daughter’s suitor marry the eldest sister instead. Then there are side plots. Then there are side plots. Then there are side plots.
The “staging” and production aspects of LWFC make it worthy of continued revising and editing. There were some fine individual performances and corps work but not enough to make a fulfilling evening of ballet.
The character Nacha, the family cook, which was performed by Courtney Lavine was perhaps the most dramatically interesting of the 25 or so roles. The stage movement given to her by Wheeldon had a 1940s type intensity that was common in Graham and Tudor works. Lavine was riveting during every second of it. The affecting beauty of her face read strongly from the Met stage during the first scene. Overwhelming was the haunting poignancy of her spirit form which reappeared on occasion thereafter.
The character of Mama Elena, portrayed by Claire Davison, felt “off” in some ways. She was more of a wicked stepmother who antagonized her youngest daughter from the outset even though she expected her to take care of her until the mother died. What was the impetus for the brutal attitude? In this world, did mothers always automatically hate their youngest daughters from the gitgo? There should have been some emotional conflict in Mama Elena’s character. Was there no guilt about destroying her youngest’s happiness for her own selfish needs?
The middle daughter, Gertrudis (Skylar Brandt), and the revolutionary soldier Juan Alejandrez (Aran Bell) received meaningful choreographic attention from Wheeldon. A wild orgy set off by the aphrodisiac effect of some rose petals innocently dropped into a quail roast and then served to guests provided Brandt with some of the most entertaining dance opportunities of the evening. She and Bell appearing in the Act II fiesta threw an entire evening’s energy into their spirited struts, stomps, and seductions. These same scenes that allowed the corps de ballet to take over the stage were without a doubt the best dance sequences of the evening.
The eldest daughter, Rosaura (Chloe Misseldine), enjoyed less clarity in character. Her choreography was not particularly memorable although her striking beauty certainly was.
Our main characters, Tita and Pedro, were touchingly portrayed by Sunmi Park and Daniel Camargo. We could tell they were in love and in a vexing predicament. Both are beautiful classical dancers but had little opportunity to show it. Their PdDs were the twisty, acrobatic, tiresome manipulations sometimes re-hashed from other Wheeldon works. Apologies for Haglund’s audible groan when Camargo picked up Park from behind and she grabbed one outstretched leg with both hands like it was a shotgun. How many times have we seen this in the choreographer’s dances — too many. Their PdDs seemed to ramble on and on as the musical rhythms tumbled along without arcs or drama. There was nothing objectionable about anything that they danced; the choreography simply wasn’t meaty enough. To circle back, the music simply didn’t challenge Wheeldon to do anything other than what he has done before.
The final tableau of the two lovers figuratively going up in flames as they "transcended the mortal realm" brought some oohs & aahs. Upon exiting, Haglund overheard “I thought you were bringing me to the ballet.” Expectations perhaps not met.
The H.H. Pump Bump Award, a colorful Louboutin stiletto, is bestowed upon Courtney Lavine for her haunting portrayal of Nacha.