American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
July 3 afternoon, July 6 afternoon and evening, 2024
Swan Lake
July 9 and July 13 afternoon, 2024
Romeo and Juliet (New York premiere)
July 17 evening, 2024
Like Water for Chocolate
Jerry Hochman
The final three weeks of American Ballet Theatre’s Met 2024 Season were marked by extraordinary ballets, extraordinary performances, and, in a different way, extraordinary promotions. Overall, the excitement level under Artistic Director Susan Jaffe, while not yet soaring through the roof, has expanded considerably.
These final summer programs included week-long performances of Swan Lake, Romeo and Juliet, and Like Water for Chocolate. The first two are classics, the third premiered last year.
Several years ago, in the course of a review of Swan Lake, I wrote that Swan Lake is bulletproof. It doesn’t matter what company is presenting it or who’s cast in leading roles, the ballet always sells well. But, judging by the three performances of Swan Lake that I saw last week, ABT broke the bank with this year’s incarnation. I don’t know how many tickets may have been sold at a reduced price or were complementary, but the three programs I attended were filled to the rafters (and I understand that at least one other performance, and probably all of them, did equally well).
And although not yet bulletproof, based on the performances I attended Sir Kenneth MacMillan’s Romeo and Juliet yielded full houses also.
Based on the performance I attended, Like Water for Chocolate did not sell as well.
Claire Davison
in Christopher Wheeldon’s “Like Water for Chocolate”
Photo by Rosalie O’Connor
This says nothing about ballet audiences that wasn’t already known. I’ll elaborate on this, and provide some brief future-facing comments (including a discussion of recent promotions) at the conclusion of this review.
I’ll address the performances in the order in which I saw them. But I won’t spend more than a sentence or two to describe the productions; familiarity is assumed.
Swan Lake
ABT’s production of Swan Lake, based, as are nearly all current productions, on the Petipa/ Ivanov 1895 incarnation, was significantly revised by then Artistic Director Kevin McKenzie in 2000. The liberties taken with Act IV, the second white act, caused consternation among purists, but I felt, and still do, that the changes eliminated little except a lot of excess baggage, and made the tonnage move. By now it has stood the test of time, and it remains a meaningful ballet and a great show.
The three performances I attended illustrate just how deep the talent at ABT now is, but it also signals a potential problem not far down the road – one that has plagued ABT for years – which I’ll also address later.
On the afternoon performance on July 3, Chloe Misseldine debuted (in New York) in the dual role, with Aran Bell as her Siegfried. For several reasons this combination proved to be the best of the three.
I reported later that evening that Misseldine was promoted to Principal by Jaffe on stage during the curtain calls that followed the performance – the first ABT “stage promotion” that I’m aware of, and perhaps a harbinger of more excitement to come.
From her initial appearance to the apotheosis, Misseldine’s overall performance was marvelous, and memorable in many respects beyond that. Most significant was her Act II Odile. What a miraculous performance this was! Nuances that elude more experienced dancers she did from the outset. I can’t catalogue all of them, but, as an example, when Siegfried touches her, she doesn’t just reject him and move away; she performs what appears to be a reflex pull-away action that was immediate and natural. And it wasn’t an accident; later in the scene, she repeated it. I’ve never seen an Odette handle her initial fear in that same exact way – it was perfect. Her execution of the central Act II pas de deux was breathtaking, and gradually one could see her fear give way to love (not as easy to communicate as it sounds). Generally, she imbued her Odette with a liquid quality that contrasted with, and de-emphasized, her alabaster appearance. I would have preferred a more extensive pull forward and back from von Rothbart’s command to Siegfried’s and back to Romeo, but that’s rarely accomplished.
Chloe Misseldine and Aran Bell in “Swan Lake”
Photo by Emma Zordan
For an initial outing on a New York stage, her Odile was impressive and promising. But it could use some more work; it’s a tougher role to get right than Odette. Misseldine was more than competent technically (her fouettes traveled more than they should have, but that’s hardly a critical concern; that she completed them is, to me, more important). Her characterization, however, could use some attention.
Few new Odiles “get” either the way to seduce Siegfried and the audience at the same time (Skylar Brandt’s role debut was a wonderful exception), or that she must take directions directly from her creator, von Rothbart. She demonstrated the latter well, and was further along the seduction ladder than most newbies. But she needs to ramp it up a little – not to go over the top, but not to allow herself to go “blank” from time to time. In other words, she needs to increase the stage temperature. It was a complaint I made of Hee Seo too, following her first Odile. Like Seo, I have no doubt that Misseldine will get there. And she commendably measured her “seductive” smiles, never looking as if they were pasted on. Good. But she needs to remember that even when she’s not facing the audience, some in the audience can still see her face. So she shouldn’t go out of character when she turns away, as she sometimes did – whatever the role and whatever visualization of it she wants to create.
Notwithstanding my critical nit-picking, this was a miraculous performance.
Although she’s thin as a rail, Misseldine is taller than many, and requires a solid partner to help if and when she lists, and certainly during partnered lifts. Bell provided that and more. As memorable as many of his past performances have been (I once referred to him as “the franchise”), here he exceeded them all.
Many years ago, in a galaxy far away, I wrote that David Hallberg was becoming a danseur noble before our eyes. Bell is doing the same thing, albeit in a different way. Earlier in his career I used to think of him as a country bumpkin who could nevertheless do most everything right. Now, he’s from the manor born – and he still can do most everything right. Following his role debut as Siegfried in 2019, I wrote: “There’s a danseur noble here that doubtless will emerge with additional opportunities, but what’s already there is quite remarkable.” It has now emerged, and what’s there is still quite remarkable.
Susan Jaffe and Chloe Misseldine
Stage promotion during curtain call
following “Swan Lake” July 3 performance
Photo by Emma Zordan
As with the other Swan Lake performances I attended, this one filled the house to the brim – and for this performance, everyone seemed aware that it was going to be something special. Not only was the house filled with an abundance of frequent flyers (those who attend, somewhat religiously, every performance within, at a minimum, a 50-mile radius), but there were parents with children in tow (this was, after all, a matinee), some tourists (one can tell by their applause in the wrong places), and a healthy contingent of current and former dancers, both from ABT and NYCB. They were rewarded not only by the performances, but by Misseldine’s stage promotion.
Somehow instantly aware of what was about to happen, the house went ballistic as soon as Jaffe emerged from the audience-left wings during the curtain calls. It was a singular ABT moment (singular because I’ve not seen ABT do a stage promotion since I began attending ballet, as well as because of its significance), cementing what those who’d seen Misseldine’s meteoric rise knew was inevitable – from YAGP’s 2017 SOTMSOT Gala (where, at age 15, she performed what I wrote was “a sublimely delicate performance of the Queen of the Dryads variation from Don Quixote”) to the ABT Studio Company in 2018 to ABT as an apprentice in 2019 to joining the company in 2021, to being promoted to soloist in 2022. For avid balletomanes, as well as accidental tourists, the experience was … an experience.
Chloe Misseldine at the YAGP Stars Gala in 2017
Photo by VAM Productions
Throughout its history, ABT has been home to stars of international renown. It’s been awhile, but suddenly (well, not so suddenly), ABT has a new young star ballerina on its roster. It makes a seasoned balletomaniac giddy.
Saturday afternoon’s Odette/Odile was Devon Teuscher, who delivered a superb performance as well, though maybe without a few of the surprising nuances with which Misseldine peppered her role (or with some that were expressed less dramatically),
I’ve watched Teuscher evolve in this role over several years’ worth of performances. As she’s grown in the role, criticisms I had of her execution (particularly as Odile) have been overcome. The most recent – that during the diagonal toward Siegfried near the end of Act III she turned her head awkwardly toward … somewhere, away from both Siegfried and the audience. Siegfried should have been her focus. That’s now been changed to conform to the way I thought it should be.
(l-r) Joo Won Ahn, Devon Teuscher,
and American Ballet Theatre in “Swan Lake”
Photo by Rosalie O’Connor
Overall, her performance was exemplary. But she had one significant problem: her Siegfried.
Joo Won Ahn has improved considerably in his emotional stage appearance since first seeing him after he joined the company. (I was critical of him appearing too emotionally “flat”). This performance as Siegfried, to my eye, reverted somewhat. The excitement at seeing Odette, and then Odile, just wasn’t there. Technically his performance was adequate, but in a piece that depends on emotion and nuance almost as much as technique, his affect just wasn’t effective.
That same Saturday evening, the Swan Lake leading roles were assumed by Brandt and Herman Cornejo. I’ve seen both dance these roles several times, and both have them down to a science. While Cornejo doesn’t have the ballon he did in his younger years, and now moderates his tricks to save energy, his performance was more than adequate. Brandt has eliminated many of the nuances that I was thrilled to see when she first danced this role, but except to curmudgeons like me, they were not missed.
But there was one part of the performance that was below par, and it wasn’t the dancers’ fault. The music for all of Odette’s dances was played like a dirge, for no reason I can think of. The result made Brandt, at times, look like she was stretching her choreography like taffy (the kind you can pull endlessly but never breaks). I’ve complained about this previously, but this tempo was the most egregious to date. The only justification would be if Brandt had specifically requested the opportunity to milk her featured solos beyond reason. I doubt that that happened.
Skylar Brandt and Herman Cornejo in “Swan Lake”
Photo by Rosalie O’Connor
With respect to the other members of the Swan Lake casts, in this production the role of von Rothbart (the one not in the lizard suit) is particularly critical. At Wednesday’s performance, the role was played by Joseph Markey; on Saturday afternoon Jarod Curley assayed the role, and Andrii Ishchuk did the same on Saturday evening. All danced their role well, but Curley’s was, to me, the most venomous. Patrick Frenette, a late substitute, was highly impressive as Benno – his performance made the role look far more important than it usually looks. Carlos Gonzalez’s performance on Saturday was also commendable. Jake Roxander’s Benno, while technically dynamite, portrayed the role a little like a hyperactive puppy.
The pas de trois on Wednesday afternoon was danced by Sierra Armstrong, Paulina Waski, and Frenette, on Saturday afternoon by Anabel Katsnelson, Erica Lall, and Gonzalez, and on Saturday evening by Léa Fleytoux, Kanon Kamura, and Roxander. Except for the first of them (Waski had a bad day, and appeared to have difficulty getting off the ground), the three delivered superlative performances. Finally, the corps, overall and at each performance, were, if not flawless, certainly very good, well deserving of the recognition they usually receive. I’d separately recognize the three sets of Cygnets, but I can’t identify – there were too many casting changes announced too quickly to note, Each quartet earned well-deserved audience ovations.
Romeo and Juliet
There’s not much to say about Sir Kenneth MacMillan’s Romeo and Juliet, and ABT’s execution of it, that I and others haven’t already said. The company generally does a good job with it, the corps usually executes it well, and, as I once said, I haven’t seen a performance (by any company) of this Romeo and Juliet incarnation that I didn’t like. The two performances I attended this season didn’t change that.
The opening performance on July 9 featured Teuscher as Juliet and Bell as Romeo. Although the overall impact of Teuscher’s performance was milder than it should have been, I’m convinced that this was more my problem than hers. There were a few noteworthy aspects of her characterization that surprised me, and both occurred in her initial appearance (Act I, Scene 2) – and they were changed from her portrayal only last year. First, this Juliet disliked Paris from the outset, refusing to let him touch her. Clearly, at least to me, this wasn’t because she was too modest, had never been touched by a boy before, or was simply too juvenile. Hers was an older Juliet (in demeanor, not appearance), and she knew what she didn’t like.
This sense was confirmed later in the scene, when, at its end, her nurse directs Juliet to her developing breasts. I’ve seen facial reactions to this from most Juliets of surprise, or concern, or wariness (as in ‘what will I be able to do if I can’t play with my dolls anymore’). Here, to Teuscher this was a sign of maturity that she looked forward to – she opened her eyes wide with anticipation and happiness. I guess because I’m consistent (at least most of the time), I prefer the “younger” reactions, and that Juliet should begin her evolution in the ballroom (Scene 5), when she first sees Romeo.
Devon Teuscher and Aran Bell
in Sir Kenneth MacMillan’s “Romeo and Juliet”
Photo by Rosalie O’Connor
But there also were examples of her portrayal that were better than I recalled. For example, her balcony scene (Act I, Scene 6) was as fine as anyone’s, and her Act III was memorable, particularly her “edge-of-the-bed” scene, which was top notch. Although I’ve seen it handled in different ways by different ballerinas (and often by the same ballerina in different performances) here there was no movement whatsoever until, suddenly, her eyes lit up as she figured out what she could do about the situation she was in. It was exactly as I recall Diana Vishneva handled it, which astounded me then. [Vishneva did it slightly differently the next time I saw her as Juliet – there’s nothing as certain as death, taxes, and that execution nuances will change from one performance to the next.]
There was one mistake, but I doubt that anyone else noticed. In the crypt scene while Romeo is flailing Juliet’s body around like a sack of potatoes, there‘s one point where he pulls her up from the floor and hurls her against his body just above shoulder level – from which she immediately slips back down to the floor. It’s done twice in a row. Here, the first time, for whatever reason Teuscher didn’t make it to Bell’s shoulders; instead, the part of her body that was supposed to reach his shoulder awkwardly hit him in his chest.
I suspect that this happened because Teuscher didn’t push herself off the floor (which is done sotto voce – she’s supposed to be dead, sort of) with as much force as she should have. It was corrected in the immediately following sequence (this time I could clearly see Teuscher’s feet pushing up (roughly equivalent to a relevé, but with greater force) as Bell pulled her up. This “mistake” had absolutely no impact on the scene or the overall performances. And Teuscher’s “scream” at the dance’s end was as spine-tingling and tear-inducing as anyone’s.
Which brings me to Bell, her Romeo, who debuted in the role – with Teuscher as Juliet – in 2019. I’ll gloss over most of Bell’s performance, because what he did and how he did it, both in his solos and his partnering, was not only the way it was supposed to be; it was exemplary. And the balcony scene was as powerful as it was in large part because he made it look that way.
But there was one characterization/ reaction that I’ve never seen any other Romeo do (although I suspect it’s been done before). In the closing crypt scene, when Romeo finally accepts that Juliet is dead, Bell’s Romeo silently wails an agonized and extended “scream,” foreshadowing Juliet’s own scream moments later. [Actually, the foreshadowing happens first (and in most performances I’ve seen, only) with Lady Capulet’s scream following Tybalt’s death at the end of Act II.] The impact of this was electric. I hope that this is one idiosyncratic response that Bell retains.
Hee Seo and Cory Stearns
in Sir Kenneth MacMillan’s “Romeo and Juliet”
Photo John Grigaitis
On Saturday afternoon I saw Hee Seo and Cory Stearns assay Romeo and Julliet.
Hee Seo is at the top of her game, and has been for some time. After seeing her Juliet in 2013, which was the second time I saw her, I wrote that she has fulfilled the promise she showed in her debut; “hers was not just extraordinarily good, hers was a Juliet to cherish.” Somehow, more than ten years later, it still is. And she still has the qualities I observed in 2013: she’s a dancer of rare delicacy and dramatic prowess, and she still exudes serenity and gentleness. I really don’t like quoting myself, but to me the following explains her impact best: “Her Juliet is sweet, and you feel for her not just because of the character she develops, but because of the person she appears to be. And when she screams the ‘Scream’, understated but blood-curdling nonetheless, it not only sends shivers up and down your spine and makes you shed a reflexive tear, it makes you want to pick her up and carry her off and tell her everything will be all right, and maybe sue Shakespeare and MacMillan for doing this to her.”
Somehow, all of that is still there – except her “scream,” while still blood-curdling, is no longer understated; at this performance she did a double-scream that’s even more powerful that it was before.
When I reviewed Seo’s Tatiana in Onegin earlier this season, I wrote that a better casting might have had her partnered with Stearns. Now, having seen them together in Romeo and Juliet, I’m not so sure. Stearns’s portrayal wasn’t deficient so much as it was distant. The animation, and the ardor, seemed a step below what they should have been. He did what he was supposed to do, did it sufficiently well, but the sense I got was that he was not fully “there” – particularly after having seen Bell in the role a few nights earlier.
Hee Seo and Cory Stearns
in Sir Kenneth MacMillan’s “Romeo and Juliet”
Photo Rosalie O’Connor
There was no such difficulty with the other featured members of the cast. On Tuesday, Ahn was a vicious Tybalt. And on Saturday afternoon, Roman Zhurbin added “conniving” to the characterization. Both delivered excellent performances. As Mercutio on Tuesday, Gonzalez performed the role with appropriate zest and bravado. But it’s difficult to match Roxander’s Mercutio on Saturday afternoon. He added a degree of self-assurance (not quite cockiness) that few can match, and some “tricks” that fit so neatly with the music (no change in the tempo was required) that they looked like they were meant to be there. There are a plethora of other roles that merit discussion, but that’d take too much space to cover.
Except for one of them. At Saturday afternoon’s performance, Susan Jones again portrayed Juliet’s Nurse, as she’s done seemingly forever, and still provided a brilliant portrayal. [This seems to be another time to remind the viewer that Jones was once a member of ABT’s corps. I know. I saw her then, in the early-mid 70s, and remember her well.] But during the curtain calls, Jones was approached by one of the dancers (I can’t recall who) and, to Jones’s obvious surprise, was escorted to join the leads in front of the line of other featured dancers and the corps. Concurrently, all the other cast-members began to applaud her.
There had been no announcement – at least none I saw – as to why Jones was being so honored. Based on information I heard later, this was Jones’s last performance as the Nurse after some 20 years. Assuming that’s accurate, it would have been nice for the audience to be so informed. Regardless, kudos to Jones on the occasion, to the cast for recognizing her, and for her animated portrayals that span a ballet-going generation.
Like Water for Chocolate
Having seen many performances of Christopher Wheeldon’s Like Water for Chocolate during its premiere run only a year ago, and having already written a lengthy review, I decided to see only one performance of it during ABT’s final week at the Met this year, and won’t spend any time and space here discussing the nuts and bolts of the ballet. Suffice it to say that nothing I saw on Wednesday evening changed my opinion: for all its flaws (and there are many), overall Like Water for Chocolate is miraculous, and entertainment of a high order.
SunMi Park and Daniel Camargo
in Christopher Wheeldon’s “Like Water for Chocolate”
Photo by Marty Sohl
I chose the Wednesday evening performance because I didn’t recall having seen SunMi Park as Tita last year. It turns out that I was wrong – hers was one of the three Titas I saw last year. I described her performance as crystalline, emotional, and impeccably delivered. It still is. Hers was a Tati with abundant heart, and her execution of the choreography was impeccable.
It turns out that I also saw every featured member of the cast last year as well, except for one. The newbie (to me) was Fangqi Li as Rosaura, the eldest daughter of the three spawned by Mama Elena – Tati (Park) was the youngest, and Gertrudis (Brandt) the sister in the middle.
Li’s Rosaura came alive in the ballet’s final Act, when her character is given some histrionics to exploit, which she did well. Brandt’s Gertrudis gave Act I some much-needed energy, as did her revolutionary soldier/leader Juan Alejandres, vividly portrayed by Bell (who, if it’s not already clear, had a fabulous season). Brandt’s ripping her (outer) clothes off with abandon must have prevented many in the audience from falling asleep. And as they rode off into the sunset – the stage wings –Brandt was clearly the relish to Bell’s Mexican hot dog, enjoying (together with the audience) every second of it.
Park’s Pedro, Daniel Camargo, was played at a considerably lower decibel level than any of the other major characters (except Dr. John – portrayed again with subdued passion by Calvin Royal III). He obviously loved Tati, but one really couldn’t tell how much. And Courtney Lavine repeated her role as Nacha (the family cook; dead and alive).
(l-r) Courtney Lavine, SunMi Park, and Léa Fleytoux
in Christopher Wheeldon’s “Like Water for Chocolate”
Photo by Marty Sohl
Claire Davison delivered a frightening and fearsome Mama Elena, with or without the Frankenstein’s daughter hairdo. And Fleytoux’s Chencha (the maid) made much more of her role than I recall previously seeing. Her portrayal gave the role depth, like something else was going on that the viewer isn’t supposed to know about. Another demonstration that there are no small roles. [In a way, and although it was far less intense and concentrated a role, Fleytoux’s performance brought to mind Sarah Lane’s remarkable portrayal of Mrs. Fairfax in Cathy Marston’s Jane Eyre, in which Lane created a credible and complex backstory seemingly from whole cloth.]
Onward to the Future
This year’s performances of Swan Lake and Romeo and Juliet (that I attended and, to my understanding, those I didn’t attend) effectively sold out. That’s a good thing; but it’s also a problem. The other season’s ballets appeared to have been far less successful at filling the house. This reemphasizes the difficulty that ABT has finding audiences for less familiar ballets, ones that the company must continue to present in order to avoid being a museum repository.
Thorny as that issue is, I suspect ABT can live with it as long as the familiar ballets sell out. I suspect that Swan Lake will return again next year, and maybe Woolf Works for an encore season. [I wouldn’t mind Romeo and Juliet’s reappearance, but I suspect it’ll be furloughed next season.] But there are plenty of evening-length ballets not on this year’s schedule that can be presented next year: from Don Quixote to The Sleeping Beauty (although Ratmansky’s version may be too starchy for many), Giselle, and many more too numerous to list – together with a plethora of ballets, the returns of which would depend on ABT’s willingness to overlook political correctness (like Le Corsair, The Taming of the Shrew, and La Bayadere (the scheduling of the “Kingdom of the Shades” scene in the upcoming Fall 2024 season might be a sign that the full ballet will return next year, but it’s no guarantee). [However, if MacMillan’s production isn’t re-presented at the Met in 2025, the company should consider reviving Sir Antony Tudor’s one-act version, which I had understood was, or is in the process of, being reconstructed. It’s too valuable just to disappear unceremoniously, which is what has been the situation to date. And, again for Fall, 2025 (or later), my wish list would include Marston’s The Cellist (assuming performance rights can be obtained), which is quite wonderful.]
But there’s a thornier problem: casting these evening-length ballets – not so much finding dancers to fill a role as providing opportunities for highly capable soloists and corps dancers to assay these roles when they’re ready, not when there’s an opening that no principal (or, shudder, guest artist) is available to fill.
Skylar Brandt and American Ballet Theatre
in Christopher Wheeldon’s “Like Water for Chocolate”
Photo by Marty Sohl
If this year is a guide, there won’t be enough spots in these ballets for all, or most, or even some, of ABT’s qualified ballerinas to fill. [I’m focusing on the ballerinas, but it applies to danseurs too.] The weeks of Swan Lake and Romeo and Juliet as originally cast this past season illustrate the problem: each performance had a different principal ballerina (except for Misseldine, who effectively already was a principal) – Swan Lake over eight performances; Romeo and Juliet over seven (an injury to Cassandra Trenary prompted the one duplication). If the scheduling remains as it was this year, there’s no room for essential growth unless one or another ballerina retires – but that would open up only one or another date.
Extending these ballets’ seasons specifically for the purpose of casting soloists and qualified corps dancers in these lead roles (I’m thinking Juliet more than Odette/Odile), perhaps at reduced ticket prices, might work, but doing so might dilute their audiences.
I don’t know the answer to this conundrum. But the failure (or, from another point of view, the inability) to offer opportunities to soloists (or in some cases, even corps dancers), which characterized ABT’s seasons in the past, resulted in highly qualified dancers never having an opportunity to perform these roles, or never with sufficient frequency to grow into them, shouldn’t be allowed to happen again. In addition to whatever scars not being given role opportunities for which they’re otherwise qualified may leave on the particular dancer, the audience gets cheated too. How this can be accomplished I don’t know, but taking chances isn’t limited to presenting new ballets; taking chances with young, non-principal dancers is, in essence, the same thing. Both are worth the risks.
On that note, in addition to Misseldine, the company announced several end-of-season promotions, all from the corps to soloist. They are: Léa Fleytoux, Fanqi Li, and Patrick Frenette – more dancers who have demonstrated that they should be given the opportunity to dance leading roles. [As I never hesitate to point out, Fleytoux impressed me from the beginning, when I first noticed her back in 2019, shortly after she became a member of the corps.]
The recently-announced Koch Theater Fall 2024 season will run a full three weeks, rather than two weeks or less as in the recent past. Included will be a new evening-length Crime and Punishment, choreographed by Helen Pickett. [Will “War and Peace” be next? Or Anna Karenina (they could bring Vishneva back for that one). Or “Dr. Zhivago” (now that would be a possible possibility for someone to choreograph, if it hasn’t been done already.] The remaining programs include, among other dances, world premieres by Kyle Abraham and Gemma Bond, Etudes, Twyla Tharp’s In the Upper Room (get your tickets early), and far too many excerpts from larger pieces (except for the aforementioned “Kingdom of the Shades,” which can be considered sui generis). The season promises to be … interesting.
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