Segerstrom Center for the Arts tickets 6 April 2025 - American Ballet Theatre: The Winter's Tale | GoComGo.com

American Ballet Theatre: The Winter's Tale

Segerstrom Center for the Arts, Segerstrom Hall, Costa Mesa, USA
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E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Ballet
City: Costa Mesa, USA
Starts at: 13:00

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Ballet company: American Ballet Theatre
Creators
Composer: Joby Talbot
Choreographer: Christopher Wheeldon
Librettist: Christopher Wheeldon
Author: William Shakespeare
Overview

“A must-see delight” – The Guardian  

If it’s springtime in Costa Mesa, you know that means great news for SoCal dance lovers:   It’s time for a premiere from American Ballet Theatre!

After last season’s triumphant Woolf Works, Tony-winning director and choreographer (MJAn American in Paris) Christopher Wheeldon returns with another literary sensation, this time turning his visionary eye to William Shakespeare’s The Winter Tale.

Shakespeare’s classic cautionary tale is an exploration on the different types of love - between friends, between lovers, and between family members – and the consequences that could happen when that love isn’t valued/nurtured.  But have no fear, there is a joyous ending!

Reuniting the creative team of Wheeldon, scenic and costume designer Bob Crowley and composer Joby Talbot with the superstar dancers of American Ballet Theatre (and quite possibly the most glorious theatrical tree ever created), audiences will be transported into a magical land where loves does conquer all!

Wheeldon's ballet is a dance version of William Shakespeare's play The Winter's Tale (1609–11), considered by scholars one of his "problem plays," difficult to classify as tragedy, comedy, romance, or a combination of all three. The first three of its five acts are filled with intense psychological drama; the last two are lighthearted and comedic, concluding with a happy ending. It tells a complicated story of jealousy, loss, love, joy, redemption, forgiveness, and reconciliation. Shakespeare chose his title to signify to his audiences that the play was like a tale told in company gathered by a fireside on a winter's evening. A fictional invention—not true, but entertaining and morally instructive.

History
Premiere of this production: 10 April 2014, Royal Opera House, London

The Winter's Tale is a ballet in three acts choreographed by Christopher Wheeldon to a commissioned score by Joby Talbot. With scenery and costumes designed by Bob Crowley, lighting designed by Natasha Katz, and special stage effects designed by Daniel Brodie and Basil Twist, it was a co-production of the Royal Ballet and the National Ballet of Canada and was first presented at the Royal Opera House, London, on 10 April 2014.

Synopsis

Following a brief setup scene the play begins with the appearance of two childhood friends: Leontes, King of Sicilia, and Polixenes, the King of Bohemia. Polixenes is visiting the kingdom of Sicilia, and is enjoying catching up with his old friend. However, after nine months, Polixenes yearns to return to his own kingdom to tend to affairs and see his son. Leontes desperately attempts to get Polixenes to stay longer, but is unsuccessful. Leontes then decides to send his wife, Queen Hermione, to try to convince Polixenes. Hermione agrees and with three short speeches is successful. Leontes is puzzled as to how Hermione convinced Polixenes so easily, and so he begins to suspect that his pregnant wife has been having an affair with Polixenes and that the child is Polixenes'. Leontes orders Camillo, a Sicilian Lord, to poison Polixenes. Camillo instead warns Polixenes and they both flee to Bohemia.

Furious at their escape, Leontes now publicly accuses his wife of infidelity, and declares that the child she is bearing must be illegitimate. He throws her in prison, over the protests of his nobles, and sends two of his lords, Cleomenes and Dion, to the Oracle at Delphos for what he is sure will be confirmation of his suspicions. Meanwhile, the queen gives birth to a girl, and her loyal friend Paulina takes the baby to the king, in the hopes that the sight of the child will soften his heart. He grows angrier, however, and orders Paulina's husband, Lord Antigonus, to take the child and abandon it in a desolate place. Cleomenes and Dion return from Delphos with word from the Oracle and find Hermione publicly and humiliatingly put on trial before the king. She asserts her innocence, and asks for the word of the Oracle to be read before the court. The Oracle states categorically that Hermione and Polixenes are innocent, Camillo is an honest man, and that Leontes will have no heir until his lost daughter is found. Leontes shuns the news, refusing to believe it as the truth. As this news is revealed, word comes that Leontes' son, Mamillius, has died of a wasting sickness brought on by the accusations against his mother. At this, Hermione falls in a swoon, and is carried away by Paulina, who subsequently reports the queen's death to her heartbroken and repentant husband. Leontes vows to spend the rest of his days atoning for the loss of his son, his abandoned daughter, and his queen.

Antigonus, meanwhile, abandons the baby on the coast of Bohemia, reporting that Hermione appeared to him in a dream and bade him name the girl Perdita. He leaves a fardel (a bundle) by the baby containing gold and other trinkets which suggest that the baby is of noble blood. A violent storm suddenly appears, wrecking the ship on which Antigonus arrived. He wishes to take pity on the child, but is chased away in one of Shakespeare's most famous stage directions: "Exit, pursued by a bear." (It is not known whether Shakespeare used a real bear from the London bear-pits, or an actor in bear costume.) Perdita is rescued by a shepherd and his son, also known as "Clown."

"Time" enters and announces the passage of sixteen years. Camillo, now in the service of Polixenes, begs the Bohemian king to allow him to return to Sicilia. Polixenes refuses and reports to Camillo that his son, Prince Florizel, has fallen in love with a lowly shepherd girl: Perdita. He suggests to Camillo that, to take his mind off thoughts of home, they disguise themselves and attend the sheep-shearing feast where Florizel and Perdita will be betrothed. At the feast, hosted by the Old Shepherd who has prospered thanks to the gold in the fardel, the pedlar Autolycus picks the pocket of the Young Shepherd and, in various guises, entertains the guests with bawdy songs and the trinkets he sells. Disguised, Polixenes and Camillo watch as Florizel (under the guise of a shepherd named Doricles) and Perdita are betrothed. Then, tearing off the disguise, Polixenes angrily intervenes, threatening the Old Shepherd and Perdita with torture and death and ordering his son never to see the shepherd's daughter again. With the aid of Camillo, however, who longs to see his native land again, Florizel and Perdita take ship for Sicilia, using the clothes of Autolycus as a disguise. They are joined in their voyage by the Old Shepherd and his son who are directed there by Autolycus.

In Sicilia, Leontes is still in mourning. Cleomenes and Dion plead with him to end his time of repentance because the kingdom needs an heir. Paulina, however, convinces the king to remain unmarried forever since no woman can match the greatness of his lost Hermione. Florizel and Perdita arrive, and they are greeted effusively by Leontes. Florizel pretends to be on a diplomatic mission from his father, but his cover is blown when Polixenes and Camillo, too, arrive in Sicilia. The meeting and reconciliation of the kings and princes is reported by gentlemen of the Sicilian court: how the Old Shepherd raised Perdita, how Antigonus met his end, how Leontes was overjoyed at being reunited with his daughter, and how he begged Polixenes for forgiveness. The Old Shepherd and Young Shepherd, now made gentlemen by the kings, meet Autolycus, who asks them for their forgiveness for his roguery. Leontes, Polixenes, Camillo, Florizel and Perdita then go to Paulina's house in the country, where a statue of Hermione has been recently finished. The sight of his wife's form makes Leontes distraught, but then, to everyone's amazement, the statue shows signs of vitality; it is Hermione, restored to life. As the play ends, Perdita and Florizel are engaged, and the whole company celebrates the miracle. Despite this happy ending typical of Shakespeare's comedies and romances, the impression of the unjust death of young prince Mamillius lingers to the end, being an element of unredeemed tragedy, in addition to the years wasted in separation.

Venue Info

Segerstrom Center for the Arts - Costa Mesa
Location   600 Town Center Drive

Segerstrom Center for the Arts, originally called Orange County Performing Arts Center, is a performing arts complex located in Costa Mesa, California, United States, which opened in 1986. The Center's Segerstrom Hall and Judy Morr Theater were designed by Charles Lawrence and opened in 1986. The Renée and Henry Segerstrom Concert Hall, Samueli Theater and the Lawrence and Kristina Dodge Education Center opened in 2006, and were designed by Cesar Pelli, an architect who has received numerous awards and other honors for his work including the American Institute of Architects Gold Medal in 1995. It is the artistic home to three resident companies: Pacific Symphony, the Philharmonic Society of Orange County and Pacific Chorale.

In the late 1960s, a number of Orange County community leaders decided it was time to have world-class performing arts venues and a dedicated arts campus where local and regional performing arts organizations and esteemed guest artists and companies from all over the world could perform for this rapidly growing and culturally diverse region of Southern California. Businesses were headquartering here and major educational institutions were being established. Pacific Symphony, the Philharmonic Society of Orange County, and Pacific Chorale needed a concert hall with seating and acoustics appropriate to their needs and the caliber of their performances. It should be a setting where those organizations, the new Orange County Performing Arts Center, and the community could grow and achieve greater prestige and recognition.
 
By the mid-‘70s, the Center had its site: a five-acre parcel of land donated by the local Segerstrom family along with lead financial gifts. Construction began in 1983.

The vision of the Center's founders became reality when the Orange County Performing Arts Center opened on September 29, 1986 with a concert in its new opera house-style Segerstrom Hall. It was one of the nation’s most innovative and technically advanced homes for the performing arts. To  the performances by  Pacific Symphony, the Philharmonic Society, and Pacific Chorale, the Center’s leadership added celebrated international ballet companies, national tours of Broadway musicals, jazz greats, award-winning chamber ensembles, cabaret artists and children’s theater. The Center also established an ambitious education department dedicated to bringing young people to the new campus for live, professional performances and to providing meaningful arts programs to schools throughout the county.

The new  Renée and Henry Segerstrom Concert Hall opened on September 15, 2006, named for the Center’s founding chairman and his late wife. Samueli Theater, the intimate 500-seat multi-use venue included in the concert hall complex, was named for the Henry Samueli Family Foundation. And Leatherby’s Café Rouge, named for long-time Orange County philanthropist George Leatherby, added a taste of the culinary arts to the Center’s campus. 

Richard Serra’s towering sculpture, “Connector,” commissioned by Elizabeth and Henry Segerstrom for the new plaza, was added to the Center’s public art collection that already included Richard Lippold’s “Fire Bird,” a gift of the Segerstrom family, and Henry Moore’s “Reclining Figure,” provided by the Center’s Angels of the Arts women’s support group. “Fire Bird,” appearing to soar through the Segerstrom Hall Grand Portal has become the Center’s signature icon and a local landmark.

On January 12, 2011, the Center changed its name from Orange County Performing Arts Center to Segerstrom Center for the Arts to honor the extraordinary contributions of the Segerstrom family. Their unwavering commitment and generosity have been at the core of the Center's success. Segerstrom Center for the Arts became both the institution that owns and operates the theaters and the Argyros Plaza, as well as the 14-acre multidisciplinary campus that also includes the Tony® Award-winning South Coast Repertory and the new site for the Orange County Museum of Art, schedule to begin construction in 2019.

 

Important Info
Type: Ballet
City: Costa Mesa, USA
Starts at: 13:00
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