Wheeldon’s Genius, The Winter’s Tale, Celebrates ABT’s 85th Year

On Thursday, April 3, 2025 American Ballet Theatre’s (ABT) celebrated its 85^th year as one of U.S.’ preeminent ballet companies. Hosted by the Segerstrom Center for the Arts and its supporters, The H. Russell Smith Foundation and Stewart R. Smith and Robin A Ferracone, with the company’s torchbearers, the astute Susan Jaffe, Artistic Director and Barry Hughson Executive Director who have continued to guide ABT to another powerful milestone.

The anniversary event presented the gift of Christopher Wheeldon’s brilliant telling of William Shakespeare’s The Winter’s Tale. He worked in partnership with Joby Talbot’s inventive, emotional and rhythmic score, along with the wisdom and full range beauty and craftsmanship of costumes and sets by Bob Crowley. Wheeldon’s inspiration to tackle The Winter’s Tale with his cohort warriors of theatre, embarked upon the journey of Shakespeare’s lesser known and oft infrequently done play, for the first time in dance form.

Edward Watson in Royal Ballet’s “The Winter’s Tale” choreography by Christopher Wheeldon – Photo by Johan Persson, Royal Ballet.

Wheeldon’s work, was originally premiered for the Royal Ballet in 2014 at Covent Garden. It was performed by the commanding Edward Watson as the tortured Leontes and the wonderous Lauren Cuthbertson as Hermione. Now ten years later, the cast is led by ABT ballerina Hee Seo who moved in breathless artistry as Hermione, queen of Sicily, managing to selflessly own both heart and spirit of her character. She was coupled with the young passionate Isaac Hernandez as Leontes, who at first seemed pulled-back by the daunting role and history of his responsibility. Yet only momentarily. He soon settled into the expanse of his role as King of Sicilia with all its desires, passions and cruelty, as he directed it against his wife, and best friend…and enemy, Polixenes, played by the stalwart Cory Stearns, who in turn countered against Leontes.

Hermione’s protector Paulina, marked the vital through-line by the riveting Christine Shevchenko’s extraordinary acting virtuosity throughout the ballet. In particular, her righteous stand against Leontes for Hermione, made her a heroic presence throughout.

Fumi Kaneko in Royal Ballet’s “The Winter’s Tale” choreography by Christopher Wheeldon – Photo ©Tristram Kenton, courtesy of SCFTA.

Joby Talbot’s inventive programmatic music dips into the dramatic in the first act, with magical themes that haunt the spirit. He carries the listener into a musical emotional roller coaster that translates into feelings, from love and friendship to the agony of jealousy against innocence and abuse. While the lighting by Natasha Katz skillfully helps focus on emotional changes. An example of her painterly lighting happens between Leontes obsessions inside his mind, subtly done in dark shadows, against the bright innocence of the friendly interactions of the pregnant Hermione and the friend, Polixenes. Katz, shows with light, transitions between the real and imagined.

Wheeldon’s intricate choreographic designs intertwine beautifully with the high energy and excellent corps of ABT dancers. This massive full length story ballet, is an undertaking unique in our time. It echoes the dramatic intricacies of Kenneth MacMillan’s Romeo and Juliet and Mayerling and Antony Tudor’s tormenting Dark Elegies and Pillar of Fire.

Scene from Royal Ballet’s The Winter’s Tale choreography by Christopher Wheelan – Photo ©Tristram Kenton, courtesy of SCFTA.

Watson, the original Royal Ballet’s Leontes selflessly bequeaths his artistry as he helps coach the next generation of dancers. He imparts Wheeldon’s wisdom letting them know they are “Telling the Story physically as opposed to Ballet Mime.” Not just a touch, but one’s own reaction to one’s own act of touching, it’s the feeling of both sender and receiver. The example of Leontes writhing fingers show his jealousy in movement, as his fingers crawl down his body over chest and stomach, then hide behind his back… an incredible observable and visceral physical expression of his hidden emotions. It’s this adherence to movement as emotional expression that makes the ballet come alive. So-much-so that one can nearly hear the words spoken through the dancer’s movement. These actions are beautifully curated and restaged by Watson and his fellow Assistants to Wheeldon; Jason Fowler, Anastacia Holden, and Jillian Vanstone. Because of this approach, Leontes caressing Hermione cheek, or Leontes response to Polixenes jealousy are chilling and exciting moments for actor, receiver and observer.

Tierney Heap in Royal Ballet’s “The Winter’s Tale” choreography by Christopher Wheeldon – Photo ©Tristram Kenton.

Act II counters the dark emotion and fatal meditations of the main protagonists and the Sicilian Court in Act I. After simulated storms on the high seas, with dramatic projections (Daniel Brodie), and stunning effects of giant sea walls using sheets of silk, (Basil Twist), Antigonus, Leontes’ First Steward’s (Roman Zhurbin) is killed by a giant bear leaving Hermione’s baby daughter to be discovered by a father and Son Shepherd on the shores of Bohemia. It has been thought that the pastural Bohemia, the location of the Second Act, can be of concern in the play’s direction because of its diversion from the darkness of the Sicilian court to the colorful airiness of Bohemia. However, in ballet, it is a perfect transition.

Marianela Nuñez and company in Royal Ballet’s “The Winter’s Tale” choreography by Christopher Wheeldon – Photo ©Tristram Kenton, courtesy of SCFTA.

Most awesome, as the curtain rises on Act II, is the crystal ladened wishing tree, so exquisite and unmistakable in representing hope for the future. In front of the tree is the fairy-like Perdita, unknowing Princess of Sicilia, played by the wonderous Catherine Hurlin, whose effortless innocence and delicacy sets Perdita’s prominence among the crowd. The Second Act then washes over the viewers with colorful, folk driven costumes and rhythmic simulated Bohemian Folk dances that allow for a joyous breather. Talbot’s Balkan folk music is played onstage by musicians clearly participating in the gathering. The excitement of the complicated melodies and rhythms of the Bansuri (bamboo Flute), Accordion, Hammer Dulcimer, Slit Log Drum, adds character and excitement to the festivities.

Perdita’s presence draws Florizel, Prince of Bohemia, (Carlos Gonzalez) to her. With that they perform an exquisite pas de deux, falling in love, and end with a kiss.

One of the highlights in the celebration is Takumi Miyake’s variation with his powerful leaps, beats, turns and presence. With that, he sets the bar high for all to follow.

Artists of Royal Ballet in “The Winter’s Tale” choreography by Christopher Wheeldon – Photo ©Tristram Kenton, courtesy of SCFTA.

One of the aspects of Wheeldon’s genius is his understanding of the impact of relationships and sense of story in dance. Skillfully he takes one on an emotional ride into the Third Act. Through illusion and reality, he transforms the story into its heart-rending resolution with Hermione’s soulful appearance, Leontes slow painful supplication, and Perdita’s discovery as onlookers, Paulina, Polixenes and Florizel’s presence disappear as mother and daughter reunite, quietly ending this stunning masterpiece.

Having seen this beloved company since the 1940’s, through Alicia Alonso, Nora Kaye and Jerome Robbins, through the incomparable gifts of Tudor’s Lilac Garden, Robbins’ Fancy Free, DeMille’s Rodeo, Tharpe’s Push Comes to Shove, along with the Full-length classics, (Swan Lake, Giselle, Don Quixote and more), this day transported me back…and forward, to a future one only dreamt would return. Congratulations to Christopher Wheeldon, the American Ballet Theatre, and Segerstrom for representing such artistry. May it continue for another 85 years.