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Reporting and photos By Lieba Nesis
Every ten years a performance comes along that breaks your heart, startles your senses and makes you believe that New York is the cultural center of the world-that moment transpired on Thursday night with American Ballet Theatre’s opening gala production of “Like Water for Chocolate.” Beginning at 6:30 PM on June 22nd the beautifully coiffed crowd joined forces at the Metropolitan Opera House for the New York premiere of this spellbinding ballet. Expectations were high yet oftentimes when a ballet or opera takes risks it flops spectacularly; however, this night soared unimaginably judging by the ten minute standing ovation and the oohs and aahs throughout the night. This performance necessitates multiple viewings in order to inhale the glorious minutiae.
The Royal Ballet of London first featured the World Premiere at its Opera House in June 2022 with ABT co-producing and following suit with its presentation on March 2023 at the Segerstrom Center in California.
The long awaited opening in New York is the most lavish production in ABT’s history with multiple dance floors, 200 costumes many custom laser-cut, 250 props, intricate set configurations and emotive video projections by Luke Halls. Set and costume designer Bob Crawley who used the architecture of influential 20th century Mexican Luis Barragán as an inspiration masterfully evoked a multi-layered Spanish effect that transported the audience to a live “Mask of Zorro” where flamenco and haciendas abound-worlds away from the streets of New York.
And so for three hours on Thursday nightchoreographer and scene designer Christopher Wheeldon threw one home run after another in an intricate and complex ballet which he began plotting in 1993 after viewing the film directed by Alfonso Arau. Tonight Wheeldon was all nerves knowing this evening would be make or break as he described being most excited for its conclusion.
However, the triumphant look on his face during intermission said it all. And while many attendees came to view the dazzling Herman Cornejo whose 5 ft 6 inch stature belies his all encompassing presence and whose physique and machismo can literally take your breath away female leads Catherine Hurlin and Cassandra Trenary more then held their own. Every member of the Corps de Ballet including the children from the Jacqueline Kennedy School of ABT was impeccable-there was not one B-lister in this group.
It was readily apparent from the beginning this ballet was uncharted territory as the end of Act 1 had Gertrudis, played by Catherine Hurlin, sexily undulating on a horse with an army soldier after an aphrodisiacal meal left her burning with desire. Millennials put down your television forget the tawdry “Euphoria” and “The Idol” you want true euphoric sensuality come to ABT. The second Act where Herman Cornejo and Cassandra Trenary remove their shirts in the first topless moment I have ever witnessed at a ballet-even if her back was facing the crowd-was jaw-dropping. Let’s not forget the last scene where a bare chested Cornejo lustily embraces Cassandra as the haunting voice of soprano María Brea accompanies this couple for an out-of-body duet; as this long suffering couple are finally able to reunite and transcend the mortal realm. This is the first time I have seen an “Intimacy Director” listed on a ballet program- Netflix and HBO eat your heart out-Alicia Rodis did a better job than any cable channel.
For those ballet purists there was plenty of classical dancing as well as acrobatic marvel Carlos Gonzalez who wowed as Juan Alejandrez. Dancers cartwheeling over tables and jumping on chairs and beds was a small part of the excitement that abounded. Female conductor Alondra De La Parra was another first as she effortlessly led the male dominated orchestra for a magnificent three hours. Newly appointed Artistic Director Susan Jaffe’s reign looks to be a hit as a relaxed looking Kevin McKenzie said he was delighted to no longer be at the helm. Jaffe a former principal dancer and a lover of the “story ballet” is hoping to bring young people to the forum through the use of videos detailing the history of masterpieces “Giselle” and “Swan Lake”.
Another tenure change at ABT was the announcement that visionary Artist in Residence Alexei Ratmansky would be leaving in June 2023-after a smashing 13 year career. With all these changes and a struggling creative community I was sincerely disappointed at the empty orchestra seats and the dearth of youth in attendance. Moreover, the days of celebrities populating the arts are all but done-not a Sarah Jessica, or Jennifer Hudson anywhere nearby.
Nights like these are once-in-a-lifetime as famed designer Prabal Gurung reiterated to me on our walk to the David Geffen house where a lavish dinner awaited the glitterati of New York for $3,000 a ticket. Knowing I needed more “chocolate” sans calories I made an online purchase for another ticket to this rare extravaganza.
