Joseph Gatti, Marcelo Gomes, Rasta Thomas, Elias Baseman, Matthew Golding and a few others are teaming up and taking on Orlando. Artistic Director and Founder of United Ballet Theatre, Joseph Gatti has brought in a slew of men and a blonde bombshell, Chloe Sherman for a new work by Marcelo Gomes. This “equation” looks familiar, right? Yes, and it could be because Executive Director James L. Boyd III, is at the head? He is also the former producer for Rasta Thomas‘ Rock the Ballet. Rasta Thomas will serve as a guest artist.
Excited to see the work they will be premiering. Marcelo Gomes recently left ABT after a sexual misconduct allegation. He then had his documentary premiered, and set a new work with less exciting reviews for Julie Kent‘s Washington Ballet. This would be his first full year venturing out as a choreographer and transitioning out of the “dancer” title.
So what will this mean for dancing state of Florida? Adding another company to Florida’s long list of companies including Joseph Gatti’s former employer, Robert Hill’s Orlando Ballet. (Orlando Ballet is currently searching for a new Executive Director, the third one in like five years…) As their website is still new, you can see the list of artists joining up with Mr. Gatti.
Regardless, any company that is creating jobs should be applauded.
Best of Luck United Ballet Theatre!! We are watching!
This year has been a whirlwind. Four years ago we had a shake up in changes in the Artistic world of Ballet as dancers and directors shuffled among the companies. But, this year, dancers and directors are being removed from the picture. Between the hustle and bustles and crazy sh!t storm that is the Nutcracker… This morning American Ballet Theatre put out their press release regarding international superstar Marcelo Gomes. He is no longer with ABT. This is just on the tailcoat of Peter Martins at NYCB. If you haven’t been following ballet news, allegations have been put out there, left and right… Most of them surfacing from the past. But, no one in ballet is really that surprised, and they aren’t being quiet about it on social media. Everyone has something to say, or a story involving one of the accused… and dragging un-accused people into the light.
This isn’t that big of a surprise for those of in ballet. We have heard the rumors, we have seen how directors act, and we see how egos get inflated… very quickly. A Ballet Education has been demanding change for the past three years, and unfortunately it is taking the press, and victims of abuse to come forward to start a radical change in ballet. Directors at a ballet company, are literally, one step away from God himself. The power a director has, and if the board supports this director, gives them unlimited power within a ballet company. There are all of these unspoken things that dancers fear: contracts being renewed, insurance, injury, their personal life, etc. Ironically, most of these directors have been in the other position… So most of them, don’t even see anything wrong with their behaviors. For a lot of the European directors their justification is that they are treating the dancers nicer than they were treated… Thus, it isn’t that bad, and we all should be thankful we have a job….
(Marcelo Gomes is currently choreographing on his friend Julie Kent‘s Washington Ballet and has a movie set to preimiere.)
It is this mentality that proliferates and continues the cycle of abuse, ego, and demand in the ballet world. But this starts at the student level, when students are expected to put in 8-10 hour a days, without pay, and be happy about it. There is no child ballet union to protect children from the wrath of a director, nor are there child psychiatrists monitoring the children growing up at tier one ballet schools helping them cope with injury, reality, and mental capacity it takes to be a ballet dancer. They grow up in this mindset of abuse is normal, and you are lucky to be a part of this industry, so you should be silent. Again, not something new. And the obsession over women in ballet has always been there. They are goddesses and at the same time directors and choreographers view them as clay; to be shaped and to be formed into something of their own desires.
The allegations surrounding Peter Martins might be called karma by some… And for others, they are completely shocked. It is just like this HW, Meryl Streep scenario where some people truly didn’t know or witness anything but a demanding director. All of this is just days away before companies go on break, which could be a good thing… The demand for change is here… and for someone like myself, who is a qualified AD or ED, it makes me wonder if ballet is really worth it?
From left: Justin Peck, Rebecca Krohn, Jonathan Stafford and Craig Hall. Photo by Erin Baiano, via The New York Times. (City Ballet’s “temporary fix” to the Peter Martin’s Scandal…)
It is making me think, that kids shouldn’t leave home alone until they are 18. That the structure of ballet is breaking because no one will listen to a younger generation like myself. I have had numerous conversations with some of the most respected people in ballet, and I am laughed at. I am told that what I am asking is impossible, and that I should find my place in ballet… Which I have… Ballet doesn’t have to be this art form of beauty surrounded by suffering, abuse and ridiculously expensive.
It is sad to see my colleagues suffering… Even dancers at Boston Ballet, not being able to settle their contracts. They signed mid December. It isn’t a secret that Boston proper is expensive to live in, so as a company it is your job to adequately pay the dancers. Unfortunately, this either means the executive staff needs a pay cut, or dancers need to be let go so that others can be paid. There has to be a time where we draw a line in the sand and say, “This is it.”
Change has to happen in ballet. And it has to happen rather soon. Questions comments or concerns: email me.
On Friday night, at the Lincoln Center’s David H. Koch Theater, the ballet world came together to celebrate one man: Julio Bocca. Most nights at the ballet are great, but this night was exceptional. The night began with the crowd filling the lobby of Lincoln Center, the entire ballet world seemed to be there. Among the faces in the crowd were Julie Kent, Isabella Boylston, Lauren Lovette, Stella Abrera (who was nominated for a Prix Benois de la Danse for her performance as Aurora in the Sleeping Beauty), The Olsen Twins, and more. The evening promised to be one of excitement as the playbill listed a long list of principal star dancers. With that many principals, it promised to be a stellar night.
The evening opened with projections of various dancers from around the world wishing Julio Bocca a happy birthday while in front dancers were planning a party and toasting. As it all wound down, there was Marcello Gomes who gave the opening speech. A speech about inspiration and the admiration he has for such a great dancer. He then danced with Luciana Paris in Twyla Tharp’s My Way from Sinatra Suite. This was followed by ballroom dancers Cecilia Figaredo and Hernan Piquin dancing to Michelangelo 70 by Astor Piazzolla. NYCB’s Joaquin De Luz came out to talk about Mr. Bocca and was followed by him dancing Jerome Robbins’ Other Dances with Tiler Peck. A series of beautiful solo variations and cute playfulness engulfed Lincoln Center.
Next, another video of Julio Bocca describing what it was like to dance Romeo and Juliet with Natalia Makarova. This was followed by a letter and voice clip from the Swan Queen herself. It started with a video of Natalia in the balcony scene with Marcelo Gomes being her Romeo. This was then followed with Maria Riccetto (Ballet Nacional SODRE and formerly ABT running out). The two performed MacMillan’s luscious pas de deux. Have not seen her dance since she left ABT, but she has definitely grown as an artist. It was adorable and fresh, everything a Juliet should be. Marcelo pushed his jumps and turns insanely during the opening solo. It was just beautiful dancing.
Yuan Yuan Tan and Vitor Luiz performed the Final Pas e Deux from Bells by Yui Possokhov. Her beautiful red Leo showcased her ridiculous ferocious body and her unbelievable movement quality.
This was followed by Julio Bocca’s thoughts on DON Q, and started with a video of Mr. Bocca and Tamara Rojo performing the exciting pas de deux. Emerging from the wings was Tamara Rojo and Isaac Hernandez of English National Ballet. The two dazzled the crowds with insane balances, never ending pirouettes, triple fouettes, and a sassy playfulness on Ms. Rojo’s part. It was probably the best Kitri I have ever seen.
Gonzalo Garcia of NYCB performed the solo from Mambo Suite, a fun and male flirty variation. Followed by Nina Ananiashvili of State Ballet of Georgia performing Lekuri, a Soviet folk dance in pointe shoes. Yuan Yuan Tan and Vitor Luz came back out to performing the opening of Black Swan Pas De Deux. The audience wanted more but they only did the pas de deux. Her take on black swan is more sly and sleek, befitting to her body.
Lucia LaCarra and Marlon Dino performed Spiral Twist by Russell Maliphant. This gorgeous, gorgeous pas de deux was complex and intricate. Somewhere between ballet and figure skating the piece was intellectual and thought-provoking for the audience. No pointe shoes, just simple gray costumes, the two moved so elegantly and so luscious that the audience went wild.
Luciana Paris and Rodrigo Colomba (Teatro Folklorico Nacional-Argentina) performed Presente, a world premier by Analia Gonzalez. This super sexy pas de deux made for a very entertaining number. He was strong, supportive, and so into her, it turned the audience on. It was so sexy. His large hands all over her tiny waist and body… She danced in just a long sleeve leotard, he danced in pants and a tank top… Oooh, hot and bothered all over again.
Isabelle Guerin and Manual Legris, former etoiles of Paris Opera, danced Farewell Waltz. A very subtle pas de deux about the end of life. She is everything I have ever imagined about watching her dance life. Slick and effortless technique. He was everything he needed to be, strong but insecure, effortless but distraught.
Vitor Luz performed Percussion 4 from Bob Fosse.
The night ended with all of the dancers toasting Julio Bocca on stage. For most of the young YAGP competitors, they probably didn’t know who Julio Bocca was until now. But, if they could take anything away from the evening it was the humility and thoughtfulness of this man. Everything that was said about him reflected his genuine qualities, his humble attitude, and his never ending hard work.
PBS will be adding American Ballet Theatre to their American Masters series! Take a look at 75 years of magic. In the Wall Street Journal it was revealed that footage of Robbins, Balanchine, Agnes de Mille, Tharp, Baryshnikov, Alicia Alonso, and more will be a part of the documentary. Don’t forget, American Ballet Theatre’s 75th Annual Gala is May 18th at the Met.
If you are in NYC April 21 & 22, the Royal Ballet School Exchange and ABT Studio Company Performances are at the Ailey Citigroup Theatre. Tickets are only 20 bucks. Totally worth it. See rising ballet stars dance amazing choreography. Who wouldn’t want to go? Buy tickets here.