It has been reassuring to see relatively full houses so far during American Ballet Theatre’s spring season at the Metropolitan Opera House, its first under the leadership of Susan Jaffe. People are finally feeling confident enough to go to the theater in large numbers. This, despite the fact that the company is offering a rather muted spring season containing a single premiere—Christopher Wheeldon’s populist “Like Water for Chocolate”—and three old standbys: “Giselle,” “Swan Lake,” and “Romeo and Juliet.” The ABT audience knows these well-worn productions by heart, down to the little details, like the moment the borzois emerge from the wings in the first act of “Giselle,” or the exact manner in which Albrecht tosses the “he-loves-me-not” daisy over his shoulder, eliciting the same titter of laughter from the audience each time.
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continua a leggere