The American Ballet Theater (ABT) marked its summer season with a blend of tradition and transition, highlighted by onstage announcements of principal promotions and a program featuring both classical favorites and less frequently performed works. Under the artistic direction of Susan Jaffe, ABT elevated SunMi Park and Jarod Curley to principal dancer status, while also promoting several corps de ballet members to soloist roles.
The season’s repertoire, performed partly for a tourist audience, included time-honored story ballets such as “Swan Lake,” a newly staged version of “Don Quixote” co-created by Jaffe and Susan Jones, and John Cranko’s “Onegin.” A brief but notable departure from the usual fare was the inclusion of Frederick Ashton’s “Sylvia.”
The company’s interpretation of “Don Quixote” maintained its traditional blend of virtuosic technique and comedic elements, featuring standout moments such as a charming cup solo variation. Emerging dancers Elisabeth Beyer, Madison Brown, and Yoon Jung Seo delivered spirited performances, while injuries among the cast necessitated flexible, mix-and-match casting. This led to notable debuts by SunMi Park and Michael de la Nuez in lead roles. Andrew Robare’s vigorous portrayal of Basilio and Devon Teuscher’s technically polished Kitri offered contrasting character interpretations, adding depth to the production. Chloe Misseldine’s dazzling technique was a highlight, though some observed her performance occasionally seemed over-rehearsed.
“Onegin” emphasized emotionally charged choreography, with Catherine Hurlin captivating as Olga alongside dramatic portrayals by Aran Bell and Takumi Miyake. The season also underscored the rising prominence of male dancers, with Miyake and Jake Roxander drawing attention in supportive roles such as the Romani dance in “Don Quixote” and the Neapolitan dance in “Swan Lake.” Roxander’s inventive approach to his debut as Basilio was noted for demonstrating the value of creativity in addition to technical skill.
The company faced challenges during the season, including injuries sustained by Natalia Osipova and the absence of Cory Stearns from farewell performances due to unforeseen circumstances. Despite these setbacks, the season showcased a dynamic mix of established works and fresh interpretations, balancing the maintenance of classical repertoire with the emergence of new talent.