American Ballet Theatre celebrates the American Spirit!

Some things in life are better than others.  Some wines are better, some restaurants are better, some days are better.  This week I attended a ballet gala that was better than others.  American Ballet Theatre's Opening Night Gala on Tuesday, October 16, 2012 at New York City Center was truly a gala of perfection and balance, under the brilliant Artistic Director Kevin McKenzie.

The night opened with Mark Morris' Drink to Me Only within Thine Eyes (1988).  We can thank the great Mikhail Baryshnikov for commissioning this work for ABT during his tenure as Artistic Director. It is such a different and stand out part of the repertoire for the company.  Danced in pointe shoes, and very balletic, the ballet has a certain modernity and swiftness on stage.  The stunning white and airy costumes, designed by Santo Loquasto, brighten the work as if grounded angels have arrived to dance.  Morris' early works are so uplifting and fluid - it was the perfect way to begin the night.

Two Pas de Deux followed. The first was exquisite.  James Kudelka's Cruel World (1994) is an abstract work focusing on the idea of man's control over women.  Set to the music of Tchaikovsky, the quiet duet is filled with sexual tensions and releases, eerie trance-like moments and the most subtly beautiful dance movements.  Julie Kent, original to the role, danced this night, and she stole the night for me.  Her delicate quality was mesmerizing.  I don't know the work of Kudelka, but I am surely going to try to see more.  And I'd love to see the complete ballet of Cruel World.  (the pas is on YouTube: http://www.youtube.com/watch?v=bA0EO24POis)

Stars and Stripes by George Balanchine was next.  Balanchine's Americana pieces are usually not my favorite, but on this night it was a perfect moment to catch a breath (not for the dancers) and have some fun.  Danced by 2 soloists, not principals, Daniil Simlin took the stage with fury.  He was magnificent in his Coda, and though his surprising round of leaps ended in a fall inside the curtain, the audience gave an audible gasp and loud applause.  And the end of the Pas led us all to a more festive intermission...

Champagne at Intermission: as chic as our guests

The star of the night was the 70th Birthday presentation of Agnes de Mille's Rodeo.

First choreographed for the Ballet Russe de Monte Carlo (who had taken residence in New York during World War II), this ballet was one of those great collaborative moments of dance in the 1940s.  The magical combination of choreographer de Mille, composer Aaron Copland, and set designer Oliver Smith.  We were presented with a documentary video, Rodeo@70, featuring old clips from the original production and new clips of ABT rehearsals.  Peppered with interviews with a quirky and quick de Mille (who danced the original lead role), the video gave us insight of how important the work was and still is.  It's the story of a cowgirl finding true love in a master cowboy and friend.  I found it to be a piece on feminism, with this girl working hard to fit in with men, to be their equal.  The sets are still modern in their simplicity and Americana genre.  The stage literally glows from within as the curtain rises.

  

Xiomara Reyes was delightful as the pining cowgirl.  Her strict ballet training was left at the wing as she humored us with movements of riding a horse and hoe-down circles.  It's a story of happiness and tale of "just be yourself and you will succeed".

The repertoire was perhaps the most balanced for any ballet company I have seen.  The nod to ABT's history and courage in the 1980s was smart and reverent.  And bringing in an older work like Rodeo and making it modern (due in large part to the wonderful costumes of Santo Loquasto) was a treat to an eager and hungry audience.  We all left satisfied and happy.  And talking about dance.

Of course the dinner after was beautiful.  The Pierre ballroom is a magnificent gold, and the brown and white gingham tablecloths and yellow sunflower arrangements complimented well.  Frederic Franklin (original cast member/cowboy of Rodeo) joined in the festivities.  Steak was served as the main course - reminding us of the Copland score we had just heard and all remembered from the "Beef: it's what's for dinner" commercials.

Some things in life are just better than other things.  This was one of those things.

ABT: The Spring Gala

New York has a leg up.  I'm not sure what it is about this city, but it reigns supreme in all.  It really can do no wrong in shopping, visual art, cuisine, and of course dance.  Monday night was American Ballet Theatre's Opening Night Gala - and I hate to miss a good party...

Performed inside the Metropolitan Opera House in Lincoln Center, over three thousand people are in attendance, and of those about a thousand are there for the gala dinner after.  It is a night that brings out the stars, in dance and screen.  It is truly a celebration of the great world of dance and the stunningly beautiful company that is ABT.

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The fun part about going to the opening night gala is that you get to see a sampling of what the season has in store.  Plus most of your favorite dancers dance that evening.  This year the performed sections from Le Corsaire, La Bayadere, Swan Lake, Romeo and Juliet, Don Quixote and more.

 My favorite was the Pas de Deux from Flames of Paris - danced by Natalia Osipova and Ivan Vasiliev.  They are both power house dancers, and he reminds me of a mini Misha.  He flies at great height and takes risks at every turn - which may have caused the quick spill he had, but he wowed the crowd even more after getting up and continuing. Natalia is one of the great ballerinas of our time.  Her ability to play roles like Firebird and then also Giselle is astonishing, and if you see her dance you will never forget her signature leap.  My other favorite of the night was Polonaise D'Enfants, performed by dancers from the Jacqueline Kennedy Onassis School.  Ranging from little guys to teenagers, these students are confident and electric on stage.  I especially love the tiny ones.  They are so sweet yet so beautiful to watch. One thing that was certainly missing was any work featuring their men without partners in tutus.  ABT is known for its great male dancers, thank you to Mikhail Baryshnikov, and I would like to see at least one work that showcased this.

Honorary Chair, Caroline Kennedy

Jessica Stam

After the performance guests are herded into a tent behind Lincoln Center.  With Honorary Chairs Michelle Obama, Caroline Kennedy, and Blaine Trump, you know this is going to be a swinging afair.  This year did not disappoint.  Though I thought the decor was a little limp, the food was tasty and the band was fun.  Who doesn't like to foxtrot to My Girl and then turn around to disco to KC and the Sunshine band?

I had all my men at the table wear red socks to honor the Red or Black Tie attire

Dancers Mary Kuusisto and Tiel Vicky

In my Couture Gaultier with friends Olivia Ucko and Catharine Soros

Such a fun night, and even better that it raised 1.8 million dollars to support the Company and its Education and Community Outreach efforts.  I'm a fan and can't wait for next year, but I do hope to see more from their vast collection of choregraphy besides the big greats.

Flames for Firebird

Leon Bakst: Firebird, Ballerina, 1910

In preparation for American Ballet Theater's performance of Alexei Ratmanski's world premiere of Firebird, I've decided to don Prada's nearly sold out and most wanted Flame shoe.

The performance is tonight at the Segerstrom Center for the Arts in Costa Mesa, CA.  It is sure to be as big a hit as the Prada shoe!

If you're desperate for the flame look and having no luck with the shoes, look for one of the Flame clutches.

The perfect pairing for the flames?  Amber Erin Jewelry's Black as Night, Red as Ruby earrings.  Stunning!

All of the above: enchanting indeed.