Saturday Matinee

I scored a last minute ticket to see ABT’s Othello at the Dorothy Chandler Pavilion last night. Thank goodness for student rush, an amazing price ($15) for amazing seats (mid Orchestra). I saw the Lubovitch Othello in Washington D.C. a few months ago, so I knew what to expect. After being really disappointed that Rasta Thomas was not performing on Saturday evening, I decided to go since that I don’t get much of a chance to see ABT anymore since I am not in NYC. I hadn’t seen Julie Kent (one of my favorite ballerinas) perform this year, so this would be an extra treat. I feel a bit of trepidation about ballet dancers doing modern dance-y things (I was dissatisfied with ABT’s version of Twyla Tharp’s “In the Upper Room” or “Sinatra Suite”)…and after seeing Rasta’s version of Othello in February, I was positive that the comparison would be unfair.

However….Marcelo “I got a bad tan” Gomes as Othello did exceed my expectations…initially, I did not really see him as an angsty, crazed person (he does great good-guy stuff, aka prince in Cinderella, or the sexy “purple pimp” in Swan Lake) but he was pretty angry/angst-filled as Othello. I can tell that he and Julie had rehearsed a LOT and it showed. It was solid, and a great performance. I can still say though, that I prefer Rasta’s version of Othello; Rasta was more loosey-goosey, flowy and full of energy and passion on stage. Marcelo seemed to hold back a tad; had a stiff upper body (per his ballet training), and I felt could have “let go” a bit more, and fully throw himself into the role, esp during the partnering scene with him and Iago, and Othello’s solos. His technique was limiting him a bit, given his ballet training, but I think he really tapped into the deep, insane depths of Othello’s character, and it showed. His pas de deux work with Julie were breathtaking. I think this is probably the best role I’ve seen Marcelo in; I’ve heard Lubovitch is a bit of a task master during rehearsals, and if he is, it certainly showed in Marcelo’s performance. Little choreographic details were very pronounced and solid, I was impressed, each twist, each turn, arm movement…was clear and precise.

Julie Kent…was amazing. I missed seeing her on stage (recently been watching a lot of Vishneva and Ferri, my other two favorite ballerinas), and I remembered why I loved watching her. Such artistry, such technique…a bit subtle, but clearly there underneath her classic technique. She seemed so ethereal, as if she was going to be whisked away by Othello’s anger, but the divine goodness of Desdemonda shone through Kent’s performance.

Cassio was performed by the amazing Herman Cornejo, but in the second act, Cornejo was replaced by Blaine Hoven. It was funny because 1) the substitution was not announced when the switch was made, and 2) Blaine looks similar to Cornejo because they both have curly hair. There were audience members sitting near me who did not know Cornejo was even replaced. (Come on! I found that hard to believe because Blaine has blonde hair, and Cornejo has black hair). Someone else mentioned that it’s funny how Cassio became “taller and blonder” in time for the second act. Blaine was amazing, and it was a pleasure for me to watch him step out of the corps and show his technique solid solo and pas de deux work. Bravo, Blaine…you saved the day. There was an announcement about the switch right before the third act, and I was told later that Herman Cornejo had sprained an ankle during his entrance in Act 1; which was amazing because he finished the whole first act without giving anyone a clue he was injured. Sad for Cornejo, but when the announcement was made before Act III that Cornejo was being replaced, the audience began clapping. Perhaps it was encouragement to Blaine, but a little offensive to Cornejo, as if we were glad he was being replaced. (You can see Blaine as Cassio in the photo above, taken during curtain call).

A little side note: This reminds me of the time I went to see La Boheme at the Met, and Rodolfo was switched during the first and second act, due to illness. It’s a bit jarring to see someone completely different, pretending that they were there from the very beginning. Fun to watch as an audience member though. =)

Sascha Radetsky was channeling a bit of the jailer in Manon as his portrayal of Iago, but I was impressed to see how his dancing technique has improved for the past few years. Radetsky plays such a caricature of a bad guy, but I felt he went a bit deeper with his characterization of Iago. I still prefer Carlos Lopez’s portrayal of Iago,where is that guy anyways?!? Stella Abrera was amazing, and I do hope she gets to be principal in a few years.

Adrienne Schulte as Bianca was so much fun to watch ; she wasn’t much of a seductress as she was an energetic woman eager to please men, with black curly hair flying as she jumps. I saw Sarawanee Tanatanit in Washington D.C., and she was a sultry Bianca, but I appreciated both in their roles and enjoyed the contrast in characterization.

About the music: I was really turned off by Goldenthal’s music the first time I watched it; but this time, I grew accustomed to it; it is very dramatic. I mean, the music is bit too modern for my taste, but it portrays anger, revenge and darkness very well.

Lubovitch has been critiqued for his choreography in Othello, and I know lots of people who don’t like the piece. I like it; even though I felt that the piece dragged a bit in the first act, really picks up at the end of the second and third act. It’s more of a theatrical movement study, following a loose story line. I appreciate it for what it is; it’s definitely a different kind of ballet; non-linear, dark, and moody. And I think Lubovitch succeeded in portraying these perfectly in Othello.