ABT Swan Lake Review
February 21, 2024 | The Kennedy Center – Washington, D.C., USA
American Ballet Theatre’s production of Swan Lake has been a favorite among Washington ballet audiences for years. This staging of Tchaikovsky’s iconic classic was created by the former artistic director of ABT, Kevin McKenzie. The production received its world premiere on the stage of the Kennedy Center Opera House in 2000 with Julie Kent and Angel Corella in the leading roles.
Almost a quarter-century later, this enduring Swan Lake is still a feast for the eyes.
ABT Swan Lake Review
The familiar story of love, betrayal, and redemption gets a modern treatment in McKenzie’s staging. Forget lyrical drama and poetry – replete with flamboyant visual effects and propelled by an onslaught of nonstop action, this ballet has a feel of a thriller.
To spice up the events, the choreographer offers a peculiar plot twist, splitting the role of sorcerer von Rothbart between the two characters: a handsome nobleman and a horned monster.
(In the ballet’s prologue, we learned how a beautiful princess Odette was captured and transformed into a swan by the evil magician: first, she was charmed and entrapped by von Rothbart disguised as a dashing suitor and then, turned into a swan by the von Rothbart-ugly ogre.)
There is much to admire in this Swan Lake: gorgeous decorations, opulent costumes, and ingenious choreographic interpretation.
This production develops the main storyline in a coherent and logical manner, without excessive theatricality and narrative diversions, instantly drawing the audience into the world of a fairy tale.
Yet the staging is not without flaws.
In the first act, the dancing during Prince Siegfried’s birthday party, apart from the gorgeous pas de trois, looks monotonous and unexciting.
And the final Act IV looks too shortened and rushed, so at the end, the drama – and the climatic resolution of the story – feels somewhat hollow, lacking pathos and emotional impact.
At the same time, there are plenty of moments to savor: the deeply emotional lakeside scene in Act II is beautifully done; and the third act’s royal ball, with its destiny-sealing Black Swan pas de deux, infuses the story with both suspense and entertainment, featuring some of the most exciting choreography in this ballet.
On opening night, Isabella Boylston and Daniel Camargo danced the leading roles.
The 37-year-old Boylston is ABT’s shining star. Her performance in the dual role of Odette-Odile was as dramatic as it was exhilarating.
Boylston is a beautiful and expressive dancer, with impressive technical and dramatic skills. She augments her dancing prowess with her natural magnetism and stage charisma – a natural fit for the role of the Swan Queen.
Her Odette, the young princess turned into a swan, was a picture of calm and serenity. Proud and unbroken, she remained her regal composure, not for a moment revealing her vulnerability and despair. Her initial mistrust and suspicion toward Prince Siegfried gave way to a genuine romance, in response to his loving affection.
In the romantic pas de deux at the lakeside, Boylston’s floating arms were particularly magnificent, wing-like and supple, her lyrical dancing capturing the mood – and the heart – of the entire ballet. She created her own dream-world onstage, inspired and assured by the love and pledge of her prince.
As the black swan, Odile – the deceitful daughter of von Rothbart – she was all allure and malice. Her glamorous Odile easily conquered the prince’s heart with her magnetic presence, unstoppable energy, and spellbinding fouettés, turning the famous Black Swan pas de deux into a showstopper.
The performance of Daniel Camargo in the role of Prince Siegfried came across as somewhat muted and low-key.
The Brazilian dancer joined ABT as a principal in 2022 after successfully guesting with the company during its annual season at the Metropolitan Opera House in New York City.
Camargo has an effortless technique and affable charm; yet he didn’t project the aristocratic nobility the role of Siegfried demanded. His mime scenes during the birthday celebration lacked dramatic expressiveness, adding no spark to the somewhat slow-moving first scene of Act I.
Yet the dancer came into his own in the lake-side scenes, establishing immediate rapport with Boylston. Their chemistry onstage was undeniable, sincere, and endlessly moving.
In Act III, Camargo’s Siegfried looked genuinely smitten by Odile, the enigmatic and dazzling counterpart of Odette. And he seemed thoroughly devastated and remorseful, realizing the tragic twist of fortune, when the identity of Odile was revealed.
Jose Sebastian delivered a spectacular turn as von Rothbart’s handsome alter-ego. In Act III, his prodigious dancing and acting brought a welcome sparkle to the proceedings at the royal palace. Sebastian played the role of the seducer with admirable panache, charming the Queen Mother and sending aflutter the hearts of Siegfried’s brides-to-be.
Fangqi Li, Sunmi Park and Carlos Gonzalez made an impression in the pas de trios at the prince’s birthday party in Act I; and Nancy Raffa as the Queen Mother was appropriately stately and poised.
The company’s corps de ballet was in a good form. The lakeside scenes of the first and third acts brought some of the most memorable points of this production, featuring a flock of white swan-maidens assembling and dissolving their intricate lines and patterns.
Whether they moved about the stage in unified formations, or stood motionless, framing the leading couple – the visual and emotional effect of their physical and spiritual communion was mesmerizing.
Featured Photo for this ABT Swan Lake review of Daniel Camargo, Isabella Boylston, and company in Kevin McKenzie’s’s Swan Lake. Photo by Rosalie O’Connor.
