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Article Excerpt
"You're inviting the presence of the Lilac Fairy, so turn your palms up," says ABT's artistic director Kevin McKenzie as he demonstrates a magisterial circular walk. In a studio at the company's headquarters on lower Broadway, he's testing out choreography on the men portraying the fairies' cavaliers in the Prologue of The Sleeping Beauty. In another rehearsal, the legendary ballerina Gelsey Kirkland guides principal Gillian Murphy through the curved and elongated lines of the Rose Adagio. Sleeping Beauty hasn't graced the company's repertoire in 10 years, and McKenzie wants this all-new production, opening at the Metropolitan Opera House on June 1, to honor the integrity of the full-length classic and breathe some new life into it as well.
"The first time I did a full-length Swan Lake, I did it alone, so I am grateful to have Gelsey for this," says McKenzie. Kirkland and her husband, the actor/director/dramaturge Michael Chernov, have worked intensely with McKenzie on establishing a cogent new libretto for the ballet.
And why has Kirkland's connection with ABT been reestablished after all these years? "Kevin invited us, which is always a good place to start," says Kirkland. "We were invited to the party and not left off the list," she adds with her characteristic drollery, referring to the insult that triggered the evil Carabosse's revenge. The invitation makes perfect sense in terms of theatrical lineage: The role of Aurora was one of Kirkland's...
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