ABT 2019 - Le Corsaire

I can't believe there are only a few ballet weeks left to my season!  It all goes too quickly.  We're now entering the 'classic' story ballet portion of the season - including ballets that have ridiculous (and potentially problematic) plots but glorious dancing.  The absolute epitome of this is Le Corsaire.

I've spoken before of Le Corsaire and its sections of bravura dancing; the gold standard of that, for me, was when I saw the ballet in 2012 (remind yourself of that review HERE, if you've a mind to).  I just remember being so dazzled that night.  Well, last night was also incredibly dazzling.  The second act pas de trois was one of the most spectacular extended sequences of dance I think I've ever seen.  I gasped more than once, then I finally just started laughing at the sheer unreality of the amazing dancing.  I'll get more into it in a bit.

photo credit: Foteini Christofiolpoulou (from another production)

I had been looking forward to seeing Herman Cornejo dance with beautiful Skylar Brandt last night, but unfortunately he is still injured.  Fingers crossed he'll be better for Manon next week (it's his debut in that ballet, so maybe he's saving himself; fingers crossed).  A guest artist, Brooklyn Mack, danced in his place.  Mack had been brought in for other ballets later this season, but I gather he's danced Conrad (the lead pirate) before, so he stepped in.  The photo at left is from another company's production of Le Corsaire, and that amazing split jump is part of ABT's version, too.  I'm ever so glad to have seen him - he's very heroic and strong, with bold jumps and strong footwork.  His partnering also looked very secure and attentive.  I did think he looked a tad nervous at the beginning, his arms and hands just looked a little too relaxed, but as the evening went on, he took the stage.  Well, when Daniil Simkin wasn't stealing it.  As Conrad's slave Ali, Simkin was ON.FIRE.  As always, his characterization was spot on, he's a really good actor, but his dancing was off the charts.

photo credit: Rosalie O'Connor

In the second act pas de trois, I swear he was doing moves that the human body actually can't do.  I can't describe the way he was twisting his body in the air, and then when he landed, he actually did a sort of backbend that I have never seen before.  I honestly can't describe how thrilling it was (you can see some video footage on Instagram, if you're interested), and still part of the storytelling.  Though, if I were either Brooklyn Mack or the wonderful Skylar Brandt, I would've felt like "I can't follow THAT."  But they did a grand job.  Skylar again sparkled, her turns were so fast and musical and that smile filled the ginormous Met Opera house.  She was grand.  And she had a lovely rapport with Brooklyn Mack, he had quite a sweet lovesick expression on his face that really worked for the character.  The bedroom pas de deux was very lush and romantic, yet playful.  I think Brandt and Mack could be a wonderful pairing to follow through all the ballets.  I hope they bring him back for future seasons.

photo credit: Marty Sohl

I thought Sarah Lane was an exquisite Gulnare - just so mournful, but beautiful.  Her dancing was stunningly beautiful.  The garden dream sequence with her and Brandt was gorgeous.  I also enjoyed Melanie Hamrick, Zhong-Jing Fang, and Catherine Hurlin as the odalisques.  They were lovely separately and together.  Aaron Scott was very fiery as Birbanto, but I did miss Craig Salstein in this role.  My ABT MVP, Roman Zhurbin, was the wacky pasha and was his usual delightfully detailed self.  There is no minute when he's on stage when he's not doing something interesting.  All in all, I thought the show was terrifically danced and the orchestra played the Delibes (and others) music wonderfully.  To be honest, though, I did have a moment during the ballet where I thought, hm, is now a good time to be doing a ballet dealing with slaves and the subjugation of women?  Interestingly, ABT put a note in their program about just that topic, which I was glad to read.  I'm happy people are at least thinking of these things.  I found these sentences particularly hopeful:  "Many great classics depict the disturbing social norms of bygone eras.  In our Corsaire, ABT has chosen to adjust certain scenes in tone and character out of respect for those whose lives and status were marginalized.  There may still be images that some find offensive, but we hope our audience members will be transported to the period in which it is set, and realize that such scenes are a reflection, not a validation, of life in those times."  For me, knowing that care is being taken made enjoying this nonsensical ballet that contains moments of transcendent dancing possible.  Other people may not feel that way, but difference of opinion is what makes the world go 'round.  Or something.