Two Nights with ABT/Fall Season

I'm very grateful I got to spend two nights in the company of my favorite ballet company recently.  I went with my dear IHBB to the program ABT dubbed The Masters, and then I went back with a chum from grad school to Herman Cornejo's 20th anniversary celebration.  Both nights were lovely.

The evening called The Masters featured pieces by the amazing George Balanchine, the amazing Twyla Tharp, and the amazing Alexei Ratmansky.  All signs pointed to an enjoyable night, which it was.  Before the program started, ABT's artistic director came out to welcome everyone and to acknowledge the death of prima ballerina Alicia Alonso, who originated the lead female role in "Theme and Variations," coincidentally the first piece of the night.  I'm thinking this introduction and reminder of Alonso's genius, may have put more undue pressure on the dancers, especially our lead pair, gorgeous dancers who are prone to nerves, Sarah Lane and Joseph Gorak.  They move beautifully, but they also seemed to move very cautiously and carefully throughout.  I would've liked to see some more verve - even though the piece is considered to be in the classical tradition of 19th century Russian style, there still needs to be energy and style throughout.  I just thought everyone was too staid and polite throughout.  The tempi seemed a little slow to me as well. Gorak also had some partnering problems again, which is maddening by now.  He couldn't even get Lane completely onto his shoulder at the end of the ballet, though she smiled and put her head fondly on the top of his head.  I don't know what it will take to help him get stronger, but it needs to happen if they're going to cast him in ballets where he has to lift his partner.  The ensemble behind were quite good, so it was a perfectly pleasant, though not very exciting, start to the program.

photo credit: Rosalie O'Connor

Next up with the new Twyla Tharp piece, "A Gathering of Ghosts," which she choreographed with Herman Cornejo in mind.  It's a quirky, fascinating piece, with crazy costumes designed by Norma Kamali, and all the verve and sparkle I had been looking for in the previous piece.  There's a twinkle in everyone's eyes and it seemed as if the company truly enjoyed performing the piece.  It's set to a Brahms' string quartet with four movements - Cornejo is the 'host' and dances with ghosts of famous people and 'consorts,' seemingly women he has rejected in the past.  There are terrific solos, pas de deux, and group numbers.  Blaine Hoven and Calvin Royal were real standouts for me - they both danced with charm and wit and were very secure in their partnering.  Cornejo had some solos to die for, wore a form-fitting bolero-sort-of outfit, and ended in a huge cape reminiscent of Liberace or a prizefighter.  It was fun, over the top, kind of confusing, and totally delightful.  My IHBB and I enjoyed it thoroughly.

Last up was Ratmansky's newest piece "The Seasons," which I saw in the spring season (you can remind yourself of my thoughts HERE).  It's just lovely, with wonderful stage pictures, movement, musicality, and chances for each dancer to shine.  I especially enjoyed, again, the Winter movement, though James Whiteside and Isabella Boylston were delightful in their big pas de deux as Zephyr and the Spirit of the Corn.  I also very taken with Calvin Royal and Cassandra Trenery's dancing as Bacchus and Bacchante.  Everyone was at their best and I was happy to see the piece again.  It was a nice ending to the evening.  My IHBB went out afterwards to Cafe Luxembourg, which is a delightful spot.  I had a delicious glass of cote du rhone and a lobster roll.  I felt so extravagant.  Plus, I got an unexpected glimpse of one of my very favorite stage performers, so it was bonus bonus!  Spending time at the ballet with my dear wonderful IHBB is always grand.

A chum from grad school wanted to thank me for a favor I recently did, so she took me to the celebration of Herman Cornejo's 20th anniversary with ABT.  I adore him, obviously; his dancing is sublime, his acting is always first-rate, and he has an open, generous nature on stage.  He makes everyone he dances with better, it seems to me.  So I was delighted to share in the celebration.

photo credit: Erin Baiano

First up was Herman's NY debut in Balanchine's "Apollo."  I've only seen "Apollo" a few times over the years, and not for a long time, so I was thrilled to see Herman tackle it.  I thought he performed it beautifully - he has such a gorgeous stillness.  He can do all of the exciting leaps and spins, but yet is wonderfully grounded and connected.  All of his intentions were crystal-clear, and he moved throughout space with vigor and dynamism.  I thought he was marvelous.  He also had wonderful chemistry with his muses, Misty Copeland, Skylar Brandt, and Cassandra Trenary.  They all moved together very well, the difficult partnering was done securely yet freely.  I can't believe this ballet was first done in 1928, it seems so modern and avant-garde, even now.  I wish I could've seen Calvin Royal perform Apollo as well (I've been enjoying watching a little clip he put on Instagram), but I'm so happy Herman got to share his passion for the piece with a NY audience.

photo credit: Kyle Froman

Next up was a short film about Herman, where he narrated clips of his extraordinary leaps and spins.  It was a sweet little interlude that led into the second piece, "El Chamuyo," which is the first thing Herman danced in NY that got him into ABT.  He danced it with his sister, Erica Cornejo, and good heavens, it was thrilling.  It only lasted a few minutes, but seeing authentic Argentine tango, interspersed with thrilling ballet, was incredible.  I was telling my chum afterwards that I don't know how I lived my life before seeing Herman dance that tango.  There is life before and now life after.  It had bravado, panache, humor, and delight.  It was glorious.  I am ever so thankful I got to be in the room for it.  The audience went bananas for it.

a terrible photo from my phone

The last piece was a repeat of the new Tharp piece, "A Gathering of Ghosts."  I enjoyed it even more the second time - I noticed even more detail and intricacy throughout, and it seemed that Herman interacted with the rest of the cast even more delightfully than the week before.  Everyone was at their heightened best and just charmed.  I loved it - it will be interesting to see what ABT does with this piece moving forward; to be honest, I can't see another dancer in the role Herman played.  He is so unique in his charisma, command, and skill with jumps and spins, I can't see another dancer doing it with the same panache.  I hope to be proved wrong, because I would hate to see the piece disappear.

The curtain call had thunderous applause, of course, and the company kept trying to get him to come forward and take bows alone, but he kept wanting the company to come up front with him.  Finally, he walked over to the side of the stage and Twyla Tharp came running out and leaped into his arms - it was adorable!  They took some bows together, then he came out in front of the giant curtain to acknowledge the crowd alone.  When the curtain went back up, many other members of ABT were onstage and they started throwing flowers at Herman.  It was quite lovely and seemed to move him deeply.  The applause probably lasted fifteen or twenty minutes; it was so nice that everyone in the audience wanted to show their appreciation for Herman's unique contribution to ABT.  I've loved watching him over the years and he seems to be only getting better every season.  I look forward to more amazing dance moments to come.