American Ballet Theatre: Opening Night Gala

ABT had its opening night performance here in Los Angeles on Thursday - a one night only mixed bill of "Theme & Variations," two pas de deux from "Swan Lake," "Tchaikovsky Pas de deux" and "Ballet Imperial."

The house was PACKED up to the rafters, quite a rarity for ballet at the Dorothy Chandler Pavilion with its 3,189 seats. And the crowd was just nuts - oohing, aahing, gasping, clapping. It was a great night to be there, right from the beginning with Pierce Brosnan and Angelica Huston kicking off the festivities. It wasn't just an enthusiastic audience: it was enthusiastic audience of ballet fans - friends that came with us said the place sounded more like a rock concert than a ballet, especially when favorite dancers appeared for pas de deux, etc. Marcelo Gomes had a particularly wild cheering section.

Gillian Murphy and Maxim Belosekovsky in "Ballet Imperial," the highlight of the ABT Gala on April 28, 2005. Photo by Armando Brown from the Orange County Register.  Click here to read Laura Bleiberg's review of the Orange County Register - a review that had me scratching my head and thinking, 'Were we at the same performance?'

The performance was highlighted for me by "Ballet Imperial," the evening's closing ballet, which was impecably and thrillingly danced by Gillian Murphy, Maxim Beloserkovsky and Stella Abrera. Murphy articulated each movement cleanly, musically and with what looked like such ease. But what made her performance was a spectacular stage presence - she filled the stage whenever she was there, and the way her movement fit into the music made it all the more satisfying. Abrera danced with enthusiasm and aplomb, attacking each difficult set with grace, poise and thrilling athleticism. Even the corps de ballet was (mostly) on form in "Imperial" - by far the most satisfying ballet overall in the evening.

Another great highlight: Julie Kent and Jose Manuel Carreno's White Swan pas de deux, the second piece on the program. Kent was just wonderful here - she had such expressive arms and thrilling control in the adagio. It was beautiful to watch, but an emotional experience as well. Carreno was a fantastic partner, lifting her musically and lightly as though she were made of air. Kent sunk into the final pose of the pas de deux beautifully - it was magic as the curtain came down.

Jose Manuel Carreno and Julie Kent in the White Swan Pas de Deux. Photo by Anne Cusack in the Los Angeles Times.  Times dance critic Lewis Segal reviews the performance (and mostly pans it) here.

"Theme and Variations" opened the evening, with Michele Wiles and Marcelo Gomes in the principal roles. Wiles delivered a technically assured, if underdeveloped performance. She has very strong technique and delivered on the technical challenges wonderfully, but she has yet to look completely "ballerina" comfortable. For example, at the end of her variation, as she turns to look at Gomes to start the pas de deux, she seemed unsure of what to do; her body carriage was tight and she half waved her arms in the air - no authority or command here. Still, though, overall an excellent "Theme" on her part with great potential to grow further into the role. Gomes was great as a partner, and equally great as a soloist: very musical and assured throughout. The corps de ballet was another story: ragged, untimed and somewhat sloppy seemed to be the norm, rather disappointing as it detracted from the overall feel of the ballet.

Now the disapointments: "Tchaikovsky Pas de deux" with Xiomara Reyes and Herman Cornejo was reliable if a bit flat and boring. Reyes wasn't very sharp or musical in this flashy role, and was ultimately upstaged by Cornejo's acrobatic brio. Even Cornejo, though, faltered some here with stodgy partnering - and his athletic tricks were impressive, but they tended to be too much. They lacked grace and precision as he seemed to simply throw himself around the stage for a "wow" factor. There were gasps and claps, sure, but an ultimately unsatisfying performance.

The Black Swan Pas de deux I guess wouldn't qualify as a total disappointment. Paloma Herrera and Angel Corella delivered it sparklingly - there just wasn't much heat or seductiveness in this gala performance. It was delivered as a technical showcase, and Herrera gave her usual flashy technique but next to no character or warmth. Still though, it was nice to see all those technical tricks, as well as Herrera's amazing fouettes and pirouettes. The audience ate it up - and so did I, ultimately.

I'm still left with a dazzling impression from "Ballet Imperial" though - Murphy and Abrera just nailed the piece, and the corps followed suit with a better performance (after that sloppy "Theme"). Left the theatre with a huge smile on my face!