EUGENE ONEGIN

Review by Celia Ipiotis

John Cranko has a way with literary ballets. This summer ABT opened its season with Cranko’s Oneigin based on a novel by Alexander Pushkin to a score composed by Tschaikovsky. In a last minute replacement, Christine Shevchenko and Cory Stearns assumed the leads from Devon Teuscher and Daniel Camargo.

A potent technician, Shevchenko (Tatiana) embraces Cranko’s intricate choreography. Quickly drawn into Onegin’s allure, it’s like her heart skips a beat when he arrests her jump mid air. MacMillan’s choreography daringly couples slippery turns to quick switches in facings and florid foot work. Throughout the ballet, Shevchenko and the youthfully vivacious Olga (Zimmi Coker) unfold all the choreographic  intricacies with little fanfare. Similarly, the men Onegin (Stearns) and Lensky (Jake Roxander) engage in intricate technical demands that support the dramatic action. 

But at the heart of this ballet, is a tragic love story. One that rises from power and lust. A bookish young girl, Tatiana lags behind her bright, outgoing sister, Olga. Engaged to the poet Lensky their future is marred when the arrogant, aloof Onegin drops into the ball and decides to toy with her.

Stearns’ long, serpent like gestures fall easily off the edge of the choreography. He insistently wraps himself around Coker incessantly pulling her out of Roxander’s arms. When she  flirtatiously responds, Roxander attacks Onegin, setting himself up for a duel with a top notch marksman. Relatively new on the scene, Roxander;s commanding flair lifts every scene and his abscene is felt.

Years later, Tatiana marries the kind hearted Prince Gremin (Roman Zhurbin). In the end, Shevchenko shapes her role more through technique than the poetics of dramatic vulnerability. 

Santo Loquasto’s sets and costumes contribute enormously to the ballet’s lush beauty and turn of the 19th century romantic charm.

EYE ON THE ARTS, NY — Celia Ipiotis