Alexei Ratmansky rehearses The Fairy's Kiss with Miami City Ballet dancers. (Photo by Daniel Azoulay, courtesy Miami City Ballet)

Two Premieres for Alexei Ratmansky

Choreographer Alexei Ratmansky will have world premieres on two coasts this winter. On February 10, Miami City Ballet will debut his new one-act version of The Fairy's Kiss to Stravinsky's celebrated score, a homage to Tchaikovsky. The following month, on March 15, at California's Segerstrom Center for the Arts, American Ballet Theatre will premiere his Whipped Cream, a new full-length story ballet to a Richard Strauss libretto and score.

Ratmansky has often looked to ballet history for inspiration. Fairy's Kiss, known as Le Baiser de la Fée when it was originally choreographed by Bronislava Nijinska in 1928, has been staged by Sir Frederick Ashton and Sir Kenneth MacMillan, and several times by Balanchine. Its story comes from The Ice-Maiden, a Hans Christian Andersen fairy tale, and Ratmansky has kept the narrative. A young man, about to be married, is bewitched by a fairy's kiss and stolen away from the mortal world. “I asked Alexei for a narrative work, possibly one with a Russian flavor to it," says MCB artistic director Lourdes Lopez. “Our dancers have a very strong dramatic quality and short narrative works are not a large part of our repertoire." Ratmansky had created an earlier version during his tenure at the Bolshoi Ballet; this is a new production with new choreography.


Whipped Cream has not been staged since its Vienna premiere in 1924. In Strauss' libretto, set in an ornate pastry shop, a young boy overindulges, and hallucinates that the sweets in the shop have come to life. “Whipped Cream has a fantastical quality," says ABT artistic director Kevin McKenzie, comparing it to The Nutcracker and Léonide Massine's La Boutique fantasque. “I think it will resonate with a non-balletomane the way Nutcracker does."

When it debuted, critics derided Whipped Cream as superficial and expensive, and the full score wasn't even recorded until the 1990s. “The score has overwhelming harmonies and texture—it's very symphonic," Ratmansky says. He made a short piece using a section of the music when he was a dancer at the Royal Winnipeg Ballet. “I waited 23 years to complete it."

Ratmansky requested that Mark Ryden, an artist known for his surreal fantasy images, design the production. It includes 200 costumes, a curlicued, ornate set design evoking a 1920s Viennese milieu, and a slide for the corps de ballet. “His work is creepy," says Ratmansky. “You see the sinister under the saccharine."




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These are challenging times. The social distancing measures brought about by COVID-19 has likely meant that your regular ballet training has been interrupted, while your performances, competitions—even auditions—have been cancelled. You may be feeling anxious about what the future holds, not only for you but for the dance industry. And that's perfectly understandable.

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And we know that you will, too. We've been utterly inspired by how the dance community has rallied together, from ballet stars giving online classes to companies streaming their performances to the flood of artist resources popping up. We've loved watching you dance from your kitchens. And we want to help keep this spirit alive. That's why Pointe and all of our Dance Media sister publications are working nonstop to produce and cross-post stories to help you navigate this crisis. We're all in this together.

We also want to hear from you! Send us a message on social media, or email me directly at abrandt@dancemedia.com. Tell us how you're doing, send us your ideas and show us your dance moves. Let the collective love we share for our beloved art form spark the light at the end of the tunnel—we will come out the other side soon enough.

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