American Ballet Theatre’s Met premiere of LIKE WATER FOR CHOCOLATE 22 June 2023

[Jeannette]

Opening this up for reports. Premieres tonight. I’m up from home in Puerto Rico, via a short stay in Wash, DC.

 

From the earlier thread…

Already in NYC early for this evening’s Eastern. US premiere of LIKE WATER FOR CHOCOLATE. Woohoo! Good rail journey from DC. 🚆 Back to Puerto Rico on Saturday. ✈️ 
 

Cassandra Trenary and Herman Cornejo lead tonight’s gala premiere.

[Emeralds]

Looking forward to your review, Jeannette, and merde to Cassandra, Herman and all the cast for tonight’s premiere! 

[Jeannette]

First  intermission. My favorite line from audience neighbor:

“That horse was The Rosetta Stone!”

 

Overall love of the production/scenic design, overall qualms about too many characters.

 

Much more later! Fabulous soloists overall.

 

More the come… 🎉 

 

 

[Jeannette]

HUGE applause - almost 100% standing ovation! Again, I’ll prepare a proper report in a day or two - after my travels. 
 

Biggest “Bravi!” To Wheeldon, author Laura, the design team and our Pedro, Cornejo.

[FionaM]

I hope concern over number of characters disappeared by the end.   I found the story told through the dancing made it reasonably clear who everyone was. 

[Emeralds]

Cornejo is one of my favourite dancers- glad to hear he triumphed in the role! Hope there are lots of good pictures of the production in the press, and look forward to your review when you are able to, Jeannette, and from any other members who managed to catch the show! 

*Surreal observation- Christopher Wheeldon’s choreography is dominating three performance threads in the forum this week: Like Water For Chocolate, Corybantic Games, Cinderella! Woo hoo! (Glad to say that in the spirit of healthy debate, there is also a balance of likes and dislikes - sometimes even from the same person!) Three productions performed by three major companies in the same month ....quite a feat. Congratulations to Chris Wheeldon! 

Edited June 23, 2023 by Emeralds

[Jeannette]

Back on a train today, as I missed the one last night.  I’m still in awe at the wild ovation! Audience went bonkers at the end. Wild wild applause. Carlos Gonzalez received an ovation in the middle of his “campfires” dance, then again at the end. A star is born!

Edited June 23, 2023 by Jeannette

[FionaM]

ABT AD Susan Jaffe seems pleased 

https://www.instagram.com/p/Ct1QVnXOTXZ/?igshid=MzRlODBiNWFlZA==

[Emeralds]

Some very colourful photos of the premiere on ABT’s Facebook page, with Christopher Wheeldon and author Laura Esquivel taking their bows with the cast, as well as a happy Alondra de la Parra who also conducted the RB premiere and performances in addition to her role as music consultant for composer Joby Talbot. Sounds like the ABT audience really liked the ballet - very touching to hear about the standing ovation. 

[Ian Macmillan]

You want photos?  Try some of this morning's ABT Links!

[Odyssey]

2 hours ago, Ian Macmillan said:

You want photos?  Try some of this morning's ABT Links!

Whilst enjoying some of the photos of the production, I was amazed at the Gala turnout if the ‘stars’. Very much in the league of a Film Premier. Trying to imagine a similar fashion parade and turnout over here for RB opening night of the season. Would certainly give an  injection of publicity. A real sense of occasion.

[Emeralds]

Just opening them now Ian 😊

[capybara]

42 minutes ago, Odyssey said:

Whilst enjoying some of the photos of the production, I was amazed at the Gala turnout if the ‘stars’. Very much in the league of a Film Premier. Trying to imagine a similar fashion parade and turnout over here for RB opening night of the season. Would certainly give an  injection of publicity. A real sense of occasion.

ENB invites ‘stars’ to its opening nights but I feel that doing so risks drawing attention away from the dancers and detracting from the value of what is on stage.

Quite frequently I have no idea who the invited ‘celebrities’ are anyway.

[Odyssey]

True, but quite a few of the pictures of stars dressed in their finery are principal dancers and key figures in the company. 

[Emeralds]

The American ballet companies do that a lot more as part of their fundraising efforts-they organise a gala premiere (in the style the recent RB one for Cinderella) but with a ball or formal dinner included in the higher price tickets. They include celebrities like film and pop stars so that it justifies the high prices to the ball/formal party afterwards. I agree it would give a sense of occasion - which some of the new ballets certainly are! 

 

I also remember how tv news and the broadsheets used to report on some ballet premieres even with no celebrities attending (eg Christopher Hampson’s Nutcracker for ENB, MacMillan’s Prince of the Pagodas, etc). Not sure whether they don’t get contacted now or whether too much bad news or catastrophes are pushing ballet off the news.

 

On today’s Dance Links, SCMP, the Hong Kong based broadsheet, has a nice interview with Wheeldon about the creation of the ballet. NYT had a nice photo of Shevchenko as Mama Elena with Cornejo but kicked me off after 2seconds! (Paywall). Also a nice article about Bob Crowley and designing for LWFC. 

Edited June 24, 2023 by Emeralds

[Dawnstar]

48 minutes ago, Emeralds said:

NYT had a nice photo of Shevchenko as Mama Elena with Cornejo but kicked me off after 2seconds! (Paywall).

 

Try Googling: Like Water For Chocolate New York Times. I was able to read it that way whereas when clicking directly on the link in today's Links I hit the paywall.

[Jan McNulty]

1 hour ago, Dawnstar said:

 

Try Googling: Like Water For Chocolate New York Times. I was able to read it that way whereas when clicking directly on the link in today's Links I hit the paywall.

 

If you are registered I believe you can read a couple of articles per month.

 

Googling works but doing links I will eventually be recognised.

 

For everything except the Telegraph, I have a browser that I don't use for anything else.  I use it to search on the newspaper and article name.  When I have finished I clear the cache and browsing data and close the browser down completely until the next time I need it.

[Jeannette]

Review of LIKE WATER FOR CHOCOLATE gala opening at The Met, NYC -  6/22/23

 

Tita – Cassandra Trenary

Pedro – Herman Cornejo

Mama Elena – Christine Schevchenko

Gertrudis – Catherine Hurlin

Rosaura – Hee Seo

Dr. John Brown – Thomas Forster

Juan Alejandrez – Carlos Gonzalez

Nacha & ghost – Luciana Paris

Chencha – Isadora Loyola

Conductor – Alondra De la Parra

 

After a lot of gasps and stops, ABT’s LIKE WATER FOR CHOCOLATE (LWFC), TRIUMPHED at The Met on Thursday night, in grand style, with very loud “Bravi!” and a full standing ovation in a full house. Sitting in the front-middle of the Dress Circle – the third tier, halfway up the five golden circles – I was surrounded by ABT enthusiasts and a group of Mexican VIPs with a connection to the play’s author, Laura Esquivel. They and other Dress Circle neighbors were a little bored (loud yawns) after the mostly-acting Act I but were delightfully awakened by the fast-paced dancing and music in Acts II and III. So the grand evening ended on a high note!

 

LWFC is a stylistic treasure, first and foremost. The interactive, mildly-Surrealistic set on a Mexican ranch opens the show, with a long line of skeletal brides (“Las Catrinas” who celebrate Mexico’s Day of the Dead on Nov 1-2) taking their spot along the back edge of the scene…where they would remain for much of the ballet, dressed either in white or, if in mourning, black lace, doing knitting – and they were alive, as I spotted them moving their needles during the show! Among the visual beauties was the evocative lighting and craftful video, such as moving clouds, smoke and, in the end, fire.

 

Other treasures of this masterwork include the dramatic tunes, with Mexican instruments, that propel Laura Esquivel’s complex drama forward – one of my Dress Circle neighbors called is the “score of genius.”

 

And how could I not mention the fantastic dramatic movement – instead of plodding old-fashioned mime – by the ABT troupe, even if the Petipa-style dancing was minimal? ABT MOVES! Some of the more compelling movers, much lauded by the public at the end, included:

 

The main lovers:  Cassandra Trenary as Tita and Herman Cornejo as Pedro:  Petite and adorable, Trenary was a perfect blend of careful dancing and vulnerability. The ever-evolving Pedro – from child to man -  Cornejo was a total master of his movement and emotions, especially excellent in his very tough lifting moves.

 

The villainess of the century, Mama Elena, gave Christine Schevchenko an unusual vehicle to show her nastiest and most charming self, from the wicked ever-growing Ghost during the campfire scene (How many outfit changes for her during the scene?) and as a delightful young lover with her lost fiancé, Jose (excellent bit for Jose Sebastian).

 

Dancers of the Night joint trophies went to Tita’s redheaded wild sister, Catherine Hurlin as Gertrudis, and her lover/eventual husband/revolutionary leader Juan Alejandrez – Carlos Gonzalez in the top dancing role of the night, with fast-paces pirouettes and volleying jetes in one dance that led the audience to yell for more…mas!

 

In mostly-acting roles, Hee Seo (as sister Rosaura who is forced to marry Pedro, by Mama Elena’s decree), Thomas Forster (as the kind Dr. John Brown who loves and nurses Tita back to health), and Luciana Paris (as the gentle cook Nacha, best friend of Tita at the start) all do good Thespian work.

The ABT corps de ballet dance with gusto during the Campfire and wedding scenes. Well done!

It was nice to see some long-time corps members in bit acting scenes, such as John Gardner as the priest of the ballet’s second wedding, in Texas.

 

I wasn’t expecting the grand reception, after reading and hearing “Insight” events on YouTube. I’m glad that I was wrong and that ABT is now wrapped in a veil of TRIUMFO!

 

Jeannette Nabatov

San Juan, Puerto Rico

[Jeannette]

I found this film on YouTube. The first 13 minutes show audience members in their finery. *Go to the 13:00 minute mark to see the final bows of all cast and crew, from corps, to soloists, to principals, then all leading creators from the conductor, to choreographer Wheeldon, all the way to author Laura Esquivel at the end. Listen to the wild “Bravos”; you can’t see on this film that the audience is standing & screaming.

 

https://www.youtube.com/watch?v=zT1J0gOZKpE&pp=ygUwQW1lcmljYW4gQmFsbGV0IFRoZWF0cmUgTGlrZSBXYXRlciBmb3IgQ2hvY29sYXRl
 

No performance footage, so I believe that it’s safe to post.

Edited June 24, 2023 by Jeannette

[alison]

Glad you enjoyed it so much, Jeannette.

[Texan]

I saw Sunmi Park / Daniel Camargo cast on June 23, and Cassandra Trenary / Herman Cornejo cast on June 24. To me, this was an enjoyable ballet, but not a perfect ballet. I felt that the storyline could be trimmed down somewhat. Some scenes seemed repetitive (for instance, Nacha's death, Elena's death, then Rosaura's death. Do wee need to see ladies dying 3 times?). Listening to the music, I got confused with the Winter's Tale.

 

Park is a beautiful dancer, but in terms of acting and stage presence, she is not "there" yet. Trenary fared better, but I still would vote for Francesca Hayward.

 

It pains me to say this, particularly after being a fan of Cornejo for so many years, but he just did not do it for me this time. I was on the first row of orchestra, and still could not understand what he was trying to say with his facial expressions. He jumps, he turns, he lifts, but I believe this ballet requires more than those. I felt Camargo succeded better than Cornejo in creating Pedro's desperation in some scenes. He did look like a young man searching for something he could not have.

 

Of the two viewings, I enjoyed Aran Bell's revolutionary leader the most. He knows he can deliver what Wheeldon wanted out of this role, both in terms of technique and looks. He seemed very at ease. He delivered something different from what Corrales did with this role, but Bell's creation worked for me.

 

I was happy to see complete standing ovation both nights. I saw Wheeldon  seated in a middle section of the orchestra on Friday, and he seemed pleased.

 

I typed this at the airport waiting area, so apologies in advance for any spelling errors or factual misstatements.

 

 

Edited June 25, 2023 by Texan
spelling

[Jeannette]

13 hours ago, alison said:

Glad you enjoyed it so much, Jeannette.

The work must be seen live to be appreciated. Watching the RB-version’s DVD *and* watching/listening to RB and ABT insight pieces did not help. I usually watch ballet over the grand 19th-C prism or Balanchine/Ashton’s neoclassical takes. I want more and more nonstop dancing, with glamorous Dream Scenes with female corps in tutus snd tiaras. That thinking doesn’t work here. Instead, it’s the total spectacle. Think about going to a fabulous silent (non-speaking) film, with live music.
 

That said, I hope that the Bayaderes, Corsaires, Coppelias, or Ratmansky Neoclassical Whipped Creams or Of Love and Rages return to ABT…I don’t want to see a Classics Illustrated/Literature-on-pointe Genre of works taking over the ABT repertoire…as much as I enjoyed this LWFC!

[Jeannette]

A final great piece of news:

 A PRINTED PLAYBILL was handed to all audience members!!! Woo hoo!!! Not only that, but the Playbill includes an advertisement for a Playbill Binder in which one can store programs (Playbill Store), imagine that!

 

Thank you, Lincoln Center and The Met!

 

That I’ve recently seen, only the Kennedy Center in DC insists on WOKE-COVID-style digital programs…ahum. Scan the code into your cellphone…no paper used…not even after paying hundreds of dollars for some tickets. 

 

 

 

 

Edited June 25, 2023 by Jeannette

[DrewCo]

8 hours ago, Jeannette said:

A final great piece of news:

 A PRINTED PLAYBILL was handed to all audience members!!! Woo hoo!!! Not only that, but the Playbill includes an advertisement for a Playbill Binder in which one can store programs (Playbill Store), imagine that!

 

Thank you, Lincoln Center and The Met!

 

That I’ve recently seen, only the Kennedy Center in DC insists on WOKE-COVID-style digital programs…ahum. Scan the code into your cellphone…no paper used…not even after paying hundreds of dollars for some tickets. 

 

 

 

 

 

The dependence on phones is especially irritating when the theaters (and at least some members of the audience) have long struggled to get people to turn OFF their phones for the performance.  Or at least stop looking at them since the light glares all around....

[Emeralds]

9 hours ago, Jeannette said:

A final great piece of news:

 A PRINTED PLAYBILL was handed to all audience members!!! Woo hoo!!! Not only that, but the Playbill includes an advertisement for a Playbill Binder in which one can store programs (Playbill Store), imagine that!

 

Thank you, Lincoln Center and The Met!

 

That I’ve recently seen, only the Kennedy Center in DC insists on WOKE-COVID-style digital programs…ahum. Scan the code into your cellphone…no paper used…not even after paying hundreds of dollars for some tickets. 

 

 

 

 

I really enjoyed looking at the Playbill programmes when I first visited NYC and Broadway as a child with my parents, and on subsequent visits to NY. Glad to see they are still thriving! To me they are an institution! Unlike most theatre programmes (I’ve collected various ones around the globe although sadly some were lost or destroyed while moving home several times - sigh) they don’t just have information about the show or company you are watching, there are little news items and anecdotes about other performances going on in NYC and the theatre world in general.Some of mine even had jokes or a quiz.

 

I think they were free because the advertising revenue and economical cost of the light paper used managed to pay for them? I don’t know how much the dance company or musical/play organisers have to pay towards issuing them. But yes, they are a really useful and interesting item....I was reading the articles in the first three Playbill programmes for months after I came home (while other kids were reading about popstars), eg trying to find out (before the Wikipedia existed!) what “A Funny Thing Happened On The Way to the Forum” was and who wrote it! 

[Jeannette]

13 hours ago, Emeralds said:

I really enjoyed looking at the Playbill programmes when I first visited NYC and Broadway as a child with my parents, and on subsequent visits to NY. Glad to see they are still thriving! To me they are an institution! ….

Thanks, Emeralds, for (unwittingly) reminding me that full Playbills are not available for “free” in the UK! But I always received, at the ROH, a simple sheet of paper with names of cast and crew. We don’t even get THAT at the Kennedy Center. That’s my main beef when in the USA’s Capitol…just give me a simple sheet of paper with names of cast & crew!!!

 

[Emeralds]

1 hour ago, Jeannette said:

Thanks, Emeralds, for (unwittingly) reminding me that full Playbills are not available for “free” in the UK! But I always received, at the ROH, a simple sheet of paper with names of cast and crew. We don’t even get THAT at the Kennedy Center. That’s my main beef when in the USA’s Capitol…just give me a simple sheet of paper with names of cast & crew!!!

 

Unfortunately ROH doesn’t do the simple sheet of cast and creators’ names any more- they’ve gone the way of Kennedy Center with digital cast lists only. (Although like the West End musicals and plays they do have printed or electronically projected cast lists in the foyers to read or take a photo of....word of warning though- the foyer lists are occasionally wrong and once nearly gave me a heart attack when it omitted the name of one of the leads I’d bought pricier seats just to see!) 

 

However, English National Ballet still offer the printed sheets for free at all the venues they dance at, whether that be Sadler’s Wells Theatre, London Coliseum, Royal Albert Hall etc etc. Thank goodness. 😊

[FionaM]

21 minutes ago, Emeralds said:

 

However, English National Ballet still offer the printed sheets for free at all the venues they dance at, whether that be Sadler’s Wells Theatre, London Coliseum, Royal Albert Hall etc etc. Thank goodness. 😊

 I do like the printed cast sheets, but would prefer digital as well.  The digital ones could easily include last minute changes.  
 

As you know the RAH printed cast lists for ENB Cinderella this weekend were not fully correct.  Which is frustrating when one is still learning who the newer dancers are, and, trying to identify them in masks, wigs etc.  

[Emeralds]

You’re right, @FionaE, printed cast lists at both ENB and RB can have errors too, especially if there are last minute changes due to injury, illness or other emergencies. I think I just got a shock because they didn’t actually amend the error digitally until after that ballet was over (by which time I already knew that the dancer we wanted to see was well and not replaced without warning). ENB used to do last minute changes on typed A4 sheets at the entrances into the auditorium at SWT & Coliseum; RAH has more entrances but they could  always announce it on the public address system.

[alison]

33 minutes ago, FionaE said:

 As you know the RAH printed cast lists for ENB Cinderella this weekend were not fully correct.  Which is frustrating when one is still learning who the newer dancers are, and, trying to identify them in masks, wigs etc.  

 

Oh dear, I didn't realise that   And they were very limitedly available, too - I only ever found them at the entrance to Door 6.  Didn't even spot a programme seller until late on in my last performance.

[Jeannette]

1 hour ago, Emeralds said:

You’re right, @FionaE, printed cast lists at both ENB and RB can have errors too, especially if there are last minute changes due to injury, illness or other emergencies. …. they could  always announce it on the public address system.

Exactly. Just have one announce…”A change to your printed cast sheets, ladies & gentlemen…”

 

At the Kennedy Center last month, for NYCB,  I - a pensioner on Social Security - paid $150 for a seat but, when I asked for a printed cast list, an irate usher almost screamed “Open your cellphone and scan the code!” What phone? as I don’t take phones to theaters…

 

Once again - My utter delight at the Metropolitan Opera and ABT for offering not just a Cast Sheet but an entire Playbill. Whoop-dee-doo! 🥳 

 

p.s. I also use those sheets to write notes, to use in my reviews. It’s a little notepad.

 

 

 

 

 

Edited June 26, 2023 by Jeannette

[selene]

Hello everyone! Longtime lurker but first time poster here. I started my ballet appreciation journey with the RB when I lived in London, and despite having lived in New York for a long time now still very much admire the Royal and wish they would tour here more.

 

Which is why I was thrilled when I heard that ABT would be bringing this work state side!

 

I saw Mon night's cast with Skylar Brand and Carlos Gonzalez in their debuts, and they absolutely blew it out of the park. Their dancing was beautiful, but I don't think this piece could work without good chemistry between the leads or solid acting chops, which they both had in spades. 

 

What I loved

• Skylar was a tremendous, feisty and sympathetic Tita. I did not care for some aspects of Wheeldon's choreography like the ugly flexed feet, but Skylar made it seem smooth and seamless.
• Fantastic debut from Carlos! Beautiful lyrical dancing, soft landings and a lot of charisma. The character of Pedro can be frustrating and unsympathetic but Carlos infused his interpretation with romantic longing and warmth. Some of the early pas de deux partnering was a little hesitant, but a solid debut from Carlos who kept getting better as the night went on, I hope he gets a promotion and continues to get bigger roles at the Met. 
• Jarod Curley (John Brown) was another corp dancer that had a great debut. He brought tenderness and character to what can be a two dimensional role, and stood out for me. Very solid partnering work. Elegant and lyrical dancing. Another one I hope will get bigger roles with ABT. 
• Zhong Jing Fang (Mama Elena) brought pathos and heartbreak to her role, never reducing her to caricature. She was the best dancer actor on stage, in my opinion.
• Sets/lighting/projection design was very well done. The set changes and lighting helped to move the story along and I thought it brought out the magical realism tone of the book. 
• Pacing was brisk, nothing felt like it was dwelt on for too long. 

Mixed feelings

• The choreography worked for me at points...I thought they used mime very effectively for story telling. Some of the pas de deux were beautiful. But the main Tita/Pedro pas de deux looked...clunky, and it did seemed to my non-expert eye that all the awkward lifts and throws were just clunky. Absolutely hate the flexed feet. 
• Story telling was clear to me, but I am also familiar with the book and story. I liked certain motifs that Wheeldon used to communicate, like the ribbons for engagement/marriage. I'm afraid the people sitting around me got quite lost at points with the story, resulting in chatter and questions during the performance.

Didn't work for me

• Betsy McBride and Zimmi Coker (Rosaura and Gertrudis) were capable dancers, but their acting was quite flat. I never got a sense of pathos from Rosaura, or saw her connection with Mama Elena. Zimmi was decent but her Gertrudis lacked charisma and a firecracker energy. I found myself wishing that ABT had the same depth of dancer/actor talent that the RB has.
• Dramaturgically I wish we saw more of a love story between Pedro and Tita. We see a brief glimpse of them growing up together, and then it's all separation and sensual pas de deux. It was more lust denied than star crossed love, although Skylar and Carlos infused their dancing with tenderness. 

 

Mon night saw a rapturous audience. People were on their feet applauding as soon as the curtains fell, and there was a long standing ovation. I heard snippets that said the production was thrilling, that they wanted to see it again, and an appreciation for something new and fresh. I certainly hope to see this programming at the Met again! 

[Scheherezade]

Hello Selene. I really enjoyed your review and do keep posting. Hopefully you can get over to London to see the RB at some point as they are blessed with so much talent at the moment. And I do so agree with you about flexed feet: they are right up there, along with running around in circles, in my pet hate list!