MAYhem — May 15-17, 2015
Tickets for MAYhem go on sale September 2, 2014.
Featuring the Atlanta premiere of Alexander Ekman’s Cacti
& the highly anticipated return of Alexei Ratmansky’s Seven Sonatas
MAYhem is an explosive program that brings together contemporary works showcasing the dexterity and grace of Atlanta Ballet’s Company artists. From the exquisitely challenging and impeccable Seven Sonatas by ballet great Alexei Ratmansky to the avant-garde Cacti by Alexander Ekman, one of today’s most exciting and surprising choreographers, MAYhem presents the future directions of dance propelled by the extraordinary talents and artistic vision of Atlanta Ballet.
Photos feature Atlanta Ballet dancers Peng-Yu Chen, Nadia Mara, Jackie Nash, Alessa Rogers, Christian Clark, Heath Gill, and John Wekler; Atlanta Ballet apprentice Kiara Felder, Atlanta Ballet artistic director John McFall; and Atlanta Ballet choreographer in residence Helen Pickett. Photos by Charlie McCullers.
Cobb Energy Performing Arts Centre
The Cobb Energy Performing Arts Centre is the first major performing arts facility built in metro Atlanta in four decades.
Location and Parking
The Cobb Energy Performing Arts Centre is located in northwest Atlanta near the junction of I-75 and I-285, at the intersection of Cobb Galleria Parkway and Akers Mill Road. Self parking is available on site for a $6 fee, and valet parking is available for select performances for a $10 fee.
Emergency Phone Number
(770) 916-2911 is the 24-hour public safety number for the Cobb Energy Centre. Please leave your seat location with your babysitter or answering service so that the house manager may find you in case of an emergency.
The venue is ADA compliant. Designated seats in various locations are available for guests with disabilities and those needing special assistance. The venue is equipped with wheelchair accessible courtesy phones, elevators, plaza ramps, wheelchair accessible ticket windows, and wheelchair accessible drinking fountains. For more information, please call (770) 916-2800.
Community and Corporate Group Tickets
It only takes 10 people to benefit from Atlanta Ballet's Group Sales program. With our fast, friendly and convenient service, you can secure the best seats in the house in no time at all. For more information or to reserve your group's seats today, contact Myredith Gonzales, Group Sales Manager, by one of the easy methods below.
||404.873.5811 ext 207
||404.874.4873, Attention: Group Sales
1695 Marietta Boulevard NW
Atlanta, GA 30318
Group Benefits include:
- Priority seating at Cobb Energy Performing Arts Centre and the Fabulous Fox Theatre.
- Discounts of up to 30% for select performances and special access to tickets not available to the general public.
- One-time $10 service fee, no matter how large your order.
- Flexible payment options.
- VIP opportunities such as backstage tours and dancer meet-and-greets (nominal fees apply).
- Personal VIP service from our outstanding staff, including presentation and marketing materials on the program of your choice. Assistance with restaurant and hotel reservations, transportation options, pre/post-show receptions and tours of the Cobb Energy Performing Arts Centre/The Fabulous Fox Theatre are also available at your request.
There is electricity in the air in one of Atlanta Ballet’s West-side studios as Helen Pickett, in her second year as choreographer in residence, rehearses “The Exiled” with a handful of dancers. The sparks are firing because these
artists are working with the choreographer to build a ballet unlike anything they’ve danced before. Pickett, whose works are increasingly being presented by international companies, is choreographing her first
narrative ballet. It’s a piece of significant dramatic heft and a departure from more lyrical works. And in another first, and perhaps most courageous, Pickett has developed a script...
MAYhem, beyond a clever play on the month, is a fitting description for last weekend’s Atlanta Ballet season closer. The title calls to mind a kind of lawlessness that could be fertile ground for risky, innovative ideas. And indeed the three works on the bill — John McFall’s “Three,” Helen Pickett’s “The Exiled,” and Jorma Elo’s “1st Flash” — are ambitious. But the word also evokes chaos and disorder, the results of an experiment gone off track. - See more at: http://www.artsatl.com/2014/05/review-atlanta-ballet-dances-high-wire-season-mayhem/#sthash.DSnSvVzx.dpuf
Great 1st Ballet Experience!
This was a great first Ballet experience I got to see through my internship with The Atlanta Ballet's PR department Thursday, Friday, and Saturday and it seriously got better each time. These are true artists across all departments that contribute to the final performances.
Need more variety
Atlanta Ballet always delivers superb dancing, and the MAYhem program was no exception. However, must the choreography and music selection of all three dances be so grim and tortured? I felt that the dances were choreographed more for the dancers'' fulfillment than for the audience's enjoyment. Perhaps the challenge for the choreographer will be to create a dance for next year's MAYhem which has a positive theme and more melodic music. Low attendance for the Sunday performance despite extensive publicity should signal a review of the dance selections.
The May 17 production of Mayhem was wonderful! We are truly blessed to have such imaginative productions and talented dancers here in Atlanta. Very well done!
Where’s the Windex?
The Exiled was a lesson in perseverance, both for the audience and dancers. It was pretentious, tedious, and finally just plain embarrassing as the dancers had to finish their paces in their undies. It struggled for meaning behind a plexiglas scrim which fulfilled its purpose of distancing the action through the accumulation of bodily oils deposited by the dancers. Its reasoning was so corny and trite, the dancers flailed in vain to invest the piece with some depth.
Ms Pinkett is entitled to failures, but please don't inflict them on an audience in the future.
The company as always was strong. They were just required to so the impossible - make a silk purse out of a sow's ear.
provacative then preachy
Overall, I found the performances impeccably performed but conceptually a bit boring. John McFall's piece was the most sophisticated and provocative of the repertoire trio, eliciting many deep emotional reactions throughout and inspiring me to want to have a second viewing. The second piece I found to be contrived and -- quite frankly -- annoyingly preachy (although I did like the set design). I felt sorry for the mother in the row behind me who had to explain to her 3-year-old daughter, "Mommy, why are they all taking their clothes off?" The final piece showcased AB's dancers' athleticism, but just felt "ho hum" emotionally / conceptually. I kept wondering when that giant hanging bed would fall down and awake me from my semi-slumber with a "thud".
Show All 13 Reviews
Helen Pickett's "The Exiled"
Jorma Elo talks about "1st Flash"
Inside John McFall's "THREE"
Collaboration: John McFall's "THREE"
John McFall's "THREE" in the studio
Farewell To Atlanta Ballet's Christine Winkler
MAYhem 10 sec spot
Choreographer, Seven Sonatas
Alexei Ratmansky was born in St. Petersburg and trained at the Bolshoi Ballet School in Moscow. His performing career included positions as principal dancer with Ukrainian National Ballet, the Royal Winnipeg Ballet, and the Royal Danish Ballet. He has choreographed ballets for the Dutch National Ballet, Kirov Ballet, the Royal Danish Ballet, the Royal Swedish Ballet, New York City Ballet, San Francisco Ballet, and the State Ballet of Georgia, under the artistic direction of ABT principal dancer Nina Ananiashvili. His 1998 work, Dreams of Japan, choreographed for Ananiashvili, earned a prestigious Golden Mask Award by the Theatre Union of Russia. In 2005, he was awarded the Benois de la Danse prize for his choreography of Anna Karenina for the Royal Danish Ballet. He was made Knight of Dannebrog by Queen Margrethe II of Denmark in 2001. Ratmansky was named artistic director of the Bolshoi Ballet in January 2004. For the Bolshoi Ballet, he choreographed full-length productions of The Bright Stream (2003) and The Bolt (2005) and re-staged Le Corsaire (2007) and the Soviet-era Flames of Paris (2008). Under Ratmansky’s direction, the Bolshoi Ballet was named “Best Foreign Company” in 2005 and 2007 by The Critics’ Circle in London, and he received a Critics’ Circle National Dance Award for The Bright Stream in 2006. In 2007, he won a Golden Mask Award for Best Choreographer for his production of Jeu de Cartes for the Bolshoi Ballet. In 2009, Ratmansky choreographed new dances for the Metropolitan Opera’s production of Aida. Ratmansky joined American Ballet Theatre as artist in residence in January 2009. Seven Sonatas was Ratmansky’s third work for American Ballet Theatre since On the Dnieper, his first work for the Company, and Waltz Masquerade, a ballet honoring Nina Ananiashvili’s final season. The Nutcracker was his first full-length ballet for the Company.