Category: abt

The key is the simplicity of the phrases.  Pep…

The key is the simplicity of the phrases.  Pepita’s choreography is so simple, and so wise.  Everything feels inevitable.

Cory Stearns in Lady of the Camellias (ABT, 20…

Cory Stearns in Lady of the Camellias (ABT, 2010)

Veronika Part and Eric Tamm in Lady of the Cam…

Veronika Part and Eric Tamm in Lady of the Camellias (ABT, 2010)

Herman Cornejo in Sinatra Suite (ABT, 2011)

Herman Cornejo in Sinatra Suite (ABT, 2011)

Luis Ribagorda, Gabe Stone Shyer and Joo Won A…

Luis Ribagorda, Gabe Stone Shyer and Joo Won Ahn in The Nutcracker (ABT, 2014)

Misty Copeland and Calvin Royal III in the pre…

Misty Copeland and Calvin Royal III in the première of Wayne McGregor’s AfteRite (ABT, 2018)

Misty Copeland as Giselle, and Herman Cornejo …

Misty Copeland as Giselle, and Herman Cornejo as Albrecht, in Giselle (ABT)

[Harlequinade] isn’t Mr. Ratmansky’s inv…

[Harlequinade] isn’t Mr. Ratmansky’s invention, but rather a restaging of a comedy by Marius Petipa, originally called ‘Les Millions d’Arlequin,’ or ‘Harlequin’s Millions’.  It was first performed in 1900 in St. Petersburg, where it remained in the repertory for almost three decades.

…There were later versions of Harlequinade in Russia by Fyodor Lopukhov (in the 1930’s) and Pyotr Gusev (in the 1970’s); and, at New York City Ballet, by George Balanchine (1965, with additions in 1973).  As with most later stagings of Petipa, they were loosely based on the original –  Balanchine made up his own steps, ‘in the style of’ Petipa – but none made any claim of authenticity.

Stella Abrera in Manon (ABT, 2014)

Stella Abrera in Manon (ABT, 2014)

What [Ratmansky] hasn’t dropped is his f…

What [Ratmansky] hasn’t dropped is his focus on the specificity of Petipa’s style.  ‘Even the arabesques and the arms and the angles of the body tell us something about the character or the situation,’ Mr. Ratmansky said.  Many of those details had been smoothed out over time.  In a pose from the final pas de deux, for example, he asked the dancer to twist her shoulders slightly so that she could peer back at her partner:  ‘There’s a lot of story here; you’re telling us about your fear.’  The pose wasn’t just pretty; it carried meaning.