ONEGIN: A Ballet In Three Acts

Review by Celia Ipiotis

Alexander Pushkin’s poignant verse novel, Eugene Onegin, became choreographic fodder for the South African, British born choreographer John Cranko. Set on American Ballet Theater in 2001 to a lush score by Tchaikovsky, the three-act  ballet was an immediate hit. Audiences embrace the romantic story as well as Santo Loquasto’s sumptuous country setting and costumes that echo the grandeur of early 1800’s imperial, czarist Russia.

Aaron Bell (Eugene Onegin), Calvin Royal III (Lensky), Devon Teuscher (Tatiana) and Olga (Catherine Hurlin) lead the fine cast. Unlike Olga,  the flirtatious and playful younger sister, Tatiana prefers books and daydreams. When the loyal and kind Lensky (Olga’s fiance) brings his aristocratic friend (a bored and disdainful Onegin) to the countryside– Olga’s passions flare-up. His sophistication and handsome bearing enthralls Ogla. This initial meeting sets the ultimate tragedy in motion.

Hurlin’s pas de deux with Royal is friskily decorated with light hearted lifts, flirtatious looks and springy turns. Interestingly, throughout the ballet, Cranko choreographs the facial positions as acutely as any other body part. Royal, a poet, expresses a gracious and supportive demeanor effectively stepping into long thoughtful arabesques.

When Olga and Onegin finally touch, their duet is one of longing and desire book-ended by his distance and aloofness. In a touching refrain, Teuscher stands before Onegin leaning back while lovingly studying his face. That one movement speaks to the ballet’s all-consuming heartbreak. Soon the country folk spring into the scene dressed in rustic, full skirted outfits. The women race across the stage, with the men directly behind them, flying in a series of supported non-stop leaps to great applause.

Later that evening, Tatiano pours her heart out in a letter dedicated to that cad, Lensky. In haughty style, the following day during Tatiana’s birthday fete, he heartlessly rips-up the letter in front of her. Then he proceeds to flirt with Olga, snapping her out of Lensky’s hands and grabbing her by the waist in seductive, close-bodied turns. Unable to stomach Lensky’s advances on Olga, Lensky demands Onegin meet him in a duel that doesn’t end well for Lensky. 

By Act III, Tatiana is married to the kindly Prince Gremin (a fine Joseph Markey) and living in St. Petersburg. One evening at a ball, Lensky appears. He becomes fascinated by Tatiana’s transformation into a lady of renown. Suddenly, the roles are reversed. He pursues her, while she resists and continuously carves out space between them until — he enters her bedroom. 

Bent with love for her, Onegin insistently reaches for Tatiana, pulling her towards him. She remains rigid in his arms, even when he melts before her, pressing his face down the front of her body. Pained by this demonstration of love, Tatiana recoils, and then replicates his cruel gesture of years ago shredding his letter of love to her. Shifting from  regal erectness to prostate despair, the overwhelming emotions are summoned through their postures. Through their emotionally driven interpretations and confident technique, Teuscher, Hurlin, Royal, and Bell give volume to their characters. 

The fine orchestra was conducted by David Lamarche who is assuming the post of Music Director following Ormsby Wilkins’ retirement at the end of the 2026 Summer Season at the Metropolitan Opera House.

EYE ON THE ARTS, NY — Celia Ipiotis