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SideBarre

Photo: Patrick Frenette.

SideBarre

It takes more than pliés to lift a ballet company to great heights. From dancers to conductors, teachers to makeup artists, this series features fascinating insight from ABT experts and an intimate look inside America’s National Ballet Company®. Take a spot at the SideBarre to get to know the incredible people behind each bourrée of American Ballet Theatre.

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November 16, 2023

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

Emily Wong

Emily Wong at the curtain call for <em>Ballet Imperial</em>. Photo: Rosalie O'Connor.
Emily Wong at the curtain call for Ballet Imperial. Photo: Rosalie O'Connor.

Tell us a bit about your history as a musician.

I’m a “Juilliard pianist” and piano competition winner, but I’ve also had a lot of my own compositions performed, symphonies, an opera, chamber music, and solo piano. I’ve also been a very dedicated teacher, now for a select few since ABT occupies my time.

In your own words, describe the solo piece you are playing this season, “Tchaikovsky’s Concerto No. 2 in G for Piano and Orchestra, Op. 44” in George Balanchine’s Ballet Imperial.

… grand, brilliant, virtuosic, beautiful, and a lot of fun!

What is challenging or taxing about playing this piece? 

It’s physically very demanding, with lots of technical challenges and intricate work, and requires the stamina to sustain that for 40 minutes.

Are you doing anything special or different to work on this piece? What do rehearsals look like, compared to your own independent practice?

On my own I do a lot of slow work to smooth out connections and to memorize. And I daydream about musical ideas…

It’s fun to work in collaboration with dancers on building interesting nuance and phrasing, and work towards a common artistic vision.

What is exciting and rewarding about this piece?

It’s one of those pieces that makes you fall in love with Tchaikovsky all over again!

What does this season mean to you?

I’m thrilled Susan Jaffe has programmed this brilliant piece this season. It’s such a highlight!

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November 15, 2023

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

Evangelos Spanos

Evangelos Spanos in rehearsal at American Ballet Theatre. Photo: Emma Zordan.
Evangelos Spanos in rehearsal at American Ballet Theatre. Photo: Emma Zordan.

Evangelos Spanos, Greek American and New York City based, is one of the brightest and most promising pianists of the current generation of international performers in the US. 

He is currently holding a full-time position as a Company Pianist at American Ballet Theatre and accompanies for classes at School of American Ballet and Steps on Broadway. In addition to his work with regional Equity theatres, Evangelos has served/serves as music staff at the Kansas City Ballet, University of Missouri in Kansas City, and Lyric Opera and has performed for many opera productions at the University of Kansas, as well as accompanying master classes for Martha Graham, Merce Cunningham, Dance Theatre of Harlem, and Mark Morris Dance Company to name a few.   

In your own words, describe the solo pieces you are playing this Fall season, “Piano Concerto in A Major KV 488 (Adagio),” and “Piano Concerto in C Major KV 467 (Andante)” in Jiří Kylián’s Petite Mort.

A condensed version of the beauty and sorrows of the humankind.

What is challenging or taxing about playing this piece? 

It requires absolute control and a delicate and elegant sound.

Are you doing anything special or different to work on this piece?

I mainly listen to performances of my favorite pianists as well the performance that was originally used when the choreography was realized.

What is exciting and rewarding about this piece?

The synergy between movement, music and acting. One of the times where dance becomes music and music is dance.

What does this season mean to you?

A season of exceptional music where all the pianists showcase their individual talents.

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November 14, 2023

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

Jacek Mysinski

Jacek Mysinski in rehearsal at American Ballet Theatre. Photo: Emma Zordan.
Jacek Mysinski in rehearsal at American Ballet Theatre. Photo: Emma Zordan.

Tell us a bit about your history as a musician.

I come from a family with rich musical traditions, but my musical journey began in earnest at the age of seven, when a new piano “magically” appeared in our apartment in Warsaw, Poland. I was fascinated by it and learned a few pieces by ear within the span of a month or so, listening and emulating what my dad would play for fun. A few weeks later I performed them in front of a few hundred children and parents at my preschool end of the year “graduation” event.

Shortly after, I auditioned for the music school in Warsaw and the rest is history. After years of working on the craft of piano playing (which never really stops), performances and competitions, I ended up at the prestigious Juilliard School in New York. This was also where I got my first real exposure to modern dance by participating in numerous school projects while I was there. That relationship between dance and music was such a powerful experience for me at the time, which I think led me to where I am today!

In your own words, describe the solo piece you are playing this Fall season, “Shostakovich Concerto No. 1 for Piano, Trumpet and Strings [Op. 35]” in Alexei Ratmansky’s Piano Concerto No. 1.

Extreme, explosive, daring, sardonic, berserk! 

What is challenging or taxing about playing this piece? 

Capturing the ever-changing moods and character, often juxtaposed to the extreme from one phrase to another! Then of course the sheer speed and technical demands are very high as well! 

Are you doing anything special or different to work on this piece?

It’s hard to say. Every piece has overlapping yet different challenges and considerations to be aware of. The goal is to create an interpretation that stays true to the intentions of the composer and at the highest pianistic level possible. Just as importantly, that interpretation has to meet the needs of the choreography and inspire the dancers. It’s a very nuanced balance at times, which requires a lot of sensitivity, flexibility and openness to different possibilities. 

What do rehearsals look like, compared to your own independent practice?

In many ways they’re completely different.

Since it’s a piano concerto and not a solo piece, I’m required to incorporate the orchestra part in addition to the piano part into the rehearsal flow, so that the dancers can discern and recognize the most prominent themes as they would unfold in a full performance setting, where all instruments are present. That is a big challenge sometimes, since I only have ten fingers at my disposal!

My own independent practice starts and ends at home however. That is the foundation and it involves so many elements, which would be impossible to list here, I’m afraid.

What is exciting and rewarding about this piece?

On a personal level, seeing progress, challenging yourself, exceeding what you thought were your limitations.

On a collaborative level, performing a show where the movement and music became one! When it happens, it’s pure magic!

What does this season mean to you?

It’s a celebration of life really and appreciation for all that it is. I feel a sense of gratitude for having this opportunity to perform with so many incredible dancers of ABT.

On a final note, this Fall season marks ten years since my husband Calvin Royal III and I met in Studio 5 after Theme and Variations rehearsal!

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November 13, 2023

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

Nuno Marques

Nuno Marques in rehearsal at American Ballet Theatre. Photo: Emma Zordan.
Nuno Marques in rehearsal at American Ballet Theatre. Photo: Emma Zordan.

Tell us a bit about your history as a musician.

Having grown up in the European conservatory system and later completing my advanced musical education in London and New York, I am very glad to be working with such important and expressive interdisciplinary artists now in my career. Music and the arts have taken me around the world in performance, academic, and collaborative settings. I love playing all varieties of works at the piano— from the elegance of Mozart to the intensity of Prokofiev or living composers— and always have the best time being on stage and in rehearsals with friends.

In your own words, describe the featured piece you are playing this Fall season, Carnival of the Animals for the ABT Fall Gala Pièce d’Occasion.

Iconic, youthful, imaginative.

What is challenging or taxing about playing this piece? 

The most challenging part is performing with a second pianist at the same keyboard, and an orchestra behind us.

Are you doing anything special or different to work on this piece? What do rehearsals look like, compared to your own independent practice?  

I have to adapt my seating position, for instance, as this is a four-hand piece and I have to share the keyboard. So, I try to practice from the lower end of the keyboard, which is always fun.

What is exciting and rewarding about this piece?

The excitement of performing with an orchestra, surrounded by great musicians!

What does this season mean to you?

I find this season to be full of great variety, mixing more famous works with some less frequently performed pieces that create contrast in style and scale. I’m really looking forward to it!

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November 13, 2023

Meet the Pianists of American Ballet Theatre!

Music is considered by many dancers and choreographers to be the driving force of movement, imbuing steps with emotion and expression. With a live musician accompanying the dancers, this is taken one step further—the dancer can now feel the music motivate their movements, adding a depth of sound that is lost with a recorded version.  

Central to the diverse repertoire presented at the David H. Koch Theater in the 2023 Fall season, American Ballet Theatre’s musicians played classical scores of technical rigor and complexity. In many of these arrangements, the pianists held prominent roles in propelling both the score and the dancers. Learn more about the ABT’s pianists and their experiences this past Fall season! 

October 2, 2023

After the success of our summer series, we are delighted to bring you the next iteration of Behind the Ballet with Elizabeth Kaye, a series of talks with ABT’s Dance Historian, renowned ballet lecturer, and New York Times #1 best-selling author. Each Behind the Ballet video provides a deep dive into the 2023 Fall season programs: Classics Old and New, 20th Century Works: Balanchine and Ashton, and 21st Century Works: King, Ratmansky, and Bond. Explore the videos below and find out what lies behind the ballet!

21st Century Works: King, Ratmansky, and Bond

In the final installment of Behind the Ballet, Kaye ventures into the backgrounds of the choreographers themselves to uncover how each visionary’s upbringing is reflected through movement. Kaye discusses the history of Alonzo King and his work centered on hope, Single Eye. Kaye also connects Alexei Ratmansky’s upbringing in Ukraine to his narrative ballet On the Dnipro, which takes place in his home country.

October 2, 2023

After the success of our summer series, we are delighted to bring you the next iteration of Behind the Ballet with Elizabeth Kaye, a series of talks with ABT’s Dance Historian, renowned ballet lecturer, and New York Times #1 best-selling author. Each Behind the Ballet video provides a deep dive into the 2023 Fall season programs: Classics Old and New, 20th Century Works: Balanchine and Ashton, and 21st Century Works: King, Ratmansky, and Bond. Explore the videos below and find out what lies behind the ballet!

20th Century Works: Balanchine and Ashton

From the ebullience of Russian imperialism in George Balanchine’s Ballet Imperial, to the magical forest and Shakespearean entanglements of Frederick Ashton’s The Dream, 20th Century Works: Balanchine and Ashton will transport audiences to new places. Kaye explains how these two ballets – one abstract, one narrative – bring viewers into their spellbinding worlds.

October 2, 2023

After the success of our summer series, we are delighted to bring you the next iteration of Behind the Ballet with Elizabeth Kaye, a series of talks with ABT’s Dance Historian, renowned ballet lecturer, and New York Times #1 best-selling author. Each Behind the Ballet video provides a deep dive into the 2023 Fall season programs: Classics Old and New, 20th Century Works: Balanchine and Ashton, and 21st Century Works: King, Ratmansky, and Bond. Explore the videos below and find out what lies behind the ballet!

Classics Old and New

In Classics Old and New, Kaye takes audiences on a journey through Alexei Ratmansky’s Piano Concerto No. 1, Jiří Kylián’s Petite Mort, and Harald Lander’s Études. Kaye discusses how each choreographer’s unique vision and specific style ultimately culminated in the distinctly unique masterpieces presented in the program.

October 2, 2023

Behind the Ballet with Elizabeth Kaye

2023 Fall Season

After the success of our summer series, we are delighted to bring you the next iteration of Behind the Ballet with Elizabeth Kaye, a series of talks with ABT’s Dance Historian, renowned ballet lecturer, and New York Times #1 best-selling author. Each Behind the Ballet video provides a deep dive into the 2023 Fall season programs: Classics Old and New, 20th Century Works: Balanchine and Ashton, and 21st Century Works: King, Ratmansky, and Bond. Explore the videos below and find out what lies behind the ballet!

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September 29, 2023

From Classic Storybook Ballet to High School Teen Comedy:
Homages and Adaptations of Shakespeare’s A Midsummer Night’s Dream Through the Years.

Elwince Magbitang as Puck in <em>The Dream</em>. Photo: Rosalie O’Connor.
Elwince Magbitang as Puck in The Dream. Photo: Rosalie O’Connor.

Returning for a second year in a row, Frederick Ashton’s The Dream retells Shakespeare’s classic comedy, A Midsummer Night’s Dream, through the scope of ballet—a mystical journey through the forest filled with fairies, mischief, and entanglements of the heart.  

The beloved Shakespeare tale has seen many transformations throughout time, transporting the characters from Ancient Greece to Victorian England and from the stage to screen and back again. Here are seven retellings of Shakespeare’s comedy of errors, ranging from 1980s rock operas to early 2000s teen comedies.  

Swingin’ the Dream (1939):
An almost-forgotten jazz and swing musical from the Golden Age of Broadway

With a stacked bill of America’s most famous Black artists at the time– including Louis Armstrong, Maxine Sullivan, and Bud Freeman – the creators were ready for their jazz and swing rendition of Shakespeare’s comedy to be a great success. Also joining the impressive credits was Agnes de Mille, a renowned choreographer who choreographed Rodgers and Hammerstein’s Oklahoma!, in addition to several ballets for New York City Ballet and American Ballet Theatre.  

Though there was incredible talent involved in the production, Swingin’ the Dream proved to be a complete flop. Premiering in 1939, the musical closed after only 13 performances, and no musical recording or complete copy of the script survived.  

The Dream (1964):
Frederick Ashton’s storybook ballet, returning for performances by American Ballet Theatre this Fall

Returning for ABT’s 2023 Fall season, Frederick Ashton’s retelling of Shakespeare’s A Midsummer Night’s Dream beguiles audiences as his lush, lively characters tangle themselves in love and mischief deep within a magical forest in Victorian England. This happy ode to the illusory nature of love is set to a spellbinding score by Felix Mendelssohn and arranged by John Lanchbery with sets and costumes by David Walker and lighting by John B. Read. 

Premiered by The Royal Ballet in 1964, Ashton’s ballet “contains some of the most delightful choreography—intricate, funny, plush, and, at times, extraordinarily sensual—ever made.” (The New Yorker 

Labyrinth (1986):
A 1980s cult classic homage with David Bowie

Described by The Atlantic as a “Bowie rock opera,” Jim Henson’s fantasy feature was received critically in 1986 – today, it’s a beloved cult classic. From the creator of the Muppets, Henson’s movie sees a 16-year-old Jennifer Connelly as Sarah exploring the winding labyrinth just like Shakespeare’s characters in A Midsummer Night’s Dream 

At the heart of the fairytale Labyrinth is the Goblin King Jareth, played by the genre-defining David Bowie. Bowie is also credited for the synth-electronic score, which uses his iconic sound aesthetics to complement the movie’s surrealist tale of knights, monsters, and coming of age.  

The Sandman Issue #19, “A Midsummer Night’s Dream” (1990):
Author Neil Gaiman’s DC Comic series turned hit Netflix

Neil Gaiman, author of Coraline, Good Omens, and American Gods, created the celebrated DC Comic The Sandman alongside artists Sam Kieth and Mike Dringenberg, which ran for 75 issues from 1989-1996. The comic series centers around Dream of the Endless, who rules over the Realm of Dreams. His siblings, known as the Endless, take on other physical personifications such as Destiny, Desire, and Despair.  

The Sandman Issue #19 depicts the very first 16th century staging of Shakespeare’s A Midsummer Night’s Dream, formed in creative partnership with Dream. A core issue of the series, #19 received a World Fantasy Award for short fiction in 1991. Now, The Sandman has been brought to life on the screen by Netflix as a television series, bringing in more than 1 billion minutes (about 1,901 and a half years) of viewing on the streaming service in its opening weekend.  

Mickey Mouse Works Episode #11 (1999):
Disney takes on the Shakespeare classic

Arguably the most popular cartoon character in history, Mickey Mouse stars in a retelling of A Midsummer Night’s Dream in Disney’s popular cartoon, Mickey Mouse Works. Alongside Mickey are fellow members of the Clubhouse like Minnie Mouse and Donald Duck. Goofy predictably, and hilariously, plays Puck.  

Running from 1999-2001, this short-lived cartoon series was beloved by many audiences for its ode to the Golden Age of Disney. Each episode featured a series of shorts of varying lengths, using animation and art styles from the company’s 1950s cartoons. Mickey Mouse Works was later incorporated into House of Mouse, which continued to run until 2003.  

A Midsummer Night’s Dream (1999):
Michelle Pfeiffer and Stanley Tucci transport the tale to 19th century Tuscany

Among the handful of movie adaptations, Michael Hoffman’s A Midsummer Night’s Dream stands out for its star-studded cast and faithfulness to the original script. Despite relocating the tale from Ancient Greece to the 19th century Italian countryside, the 1999 film keeps its heart in Shakespeare’s iambic pentameter.  

Hoffman’s film was answered with a lukewarm critical reception, but it dazzles nonetheless with its gauzy romanticism and big-name celebrities playing leading roles. Michelle Pfeiffer is a stunning Titania; Christian Bale practices his ‘rich kid’ persona for The Dark Knight as Demetrius, and Stanely Tucci is a mischievous Puck. Though it was not lacking in celebrity, the film is often lumped in by critics with the high-volume of 1990s Shakespeare movie adaptations.  

Get Over It (2001):
Turning Shakespeare from high school curriculum into high school comedy

The late 1990s should be considered the era of classics-turned-high school flick: Clueless is a valley girl version of Jane Austen’s Emma; 10 Things I Hate About You adapts Shakespeare’s Taming of the Shrew. The high school students, who probably read these classic stories in their English classes, were now the characters of convoluted love stories and comedies of error.  

Get Over It, premiering in 2001, takes this trend into the new millennium with early 2000s starlet Kirsten Dunst. Loosely based on Shakespeare’s play, the film spins A Midsummer Night’s Dream into a charming high school comedy where the students, entangled in their own drama, are involved in the school musical, A Midsummer Night’s Rockin’ Eve 

From stage to screen to page, each iteration of Shakespeare’s A Midsummer Night’s Dream – a magical tale of whimsy and entanglements of the heart – continues to enchant audiences.  

The writer, Lucy Kudlinksi, is the ABT Press Intern for Fall 2023.