Pacific Northwest Ballet’s Swan Lake Review
May 12, 2022 | Digital
When I visited Seattle earlier this year to see Pacific Northwest Ballet’s Romeo et Juliette, I noticed just how enthusiastic their audience was. And it was the same for their recent run of Kent Stowell’s Swan Lake.
Having audience members root for you is precisely what you would want if tasked with the iconic dual roles of the White and Black swans. Incredibly demanding, it is the quintessential ballerina role, requiring drama, endurance, and incredible strength.
That, and the commanding Tchaikovsky score, are perhaps why we should be inclined to forgive the somewhat silly storyline.
Stowell’s version remains committed to the classic interpretation with mild alterations.
One of the most pleasing aspects of the production was the set and costume design. The former, designed by Ming Cho Lee, features large pillars on the outskirts of the stage and looming tree branches that clump near the ceiling, almost mimicking the edges of a bird’s nest. It is only after a few minutes of dancing have passed that one might notice the set is delightfully off-kilter.
The costumes by Paul Tazewell feature citrus and deep gem colors for the various characters. The swans are in sophisticated tutus with silvery-blue and white feather shapes that fade into skin-toned shoulders.
The other highlight to this performance was the Pacific Northwest Ballet Orchestra whose notes varied between honeyed and electric.
Pacific Northwest Ballet's Swan Lake featuring Lesley Rausch and James Kirby Rogers
The choreography remains just good. Nothing risky or offensive, the steps are adequate and the dancers look like they are enjoying themselves.
The shining star is Lesley Rausch, Queen of the Swans and queen of suspended balances. Almost able to catch air in her arabesques, her balances give the effect of skimming the surface of a pond. Not only is she an exquisite dancer, she has acting chops too. Your heart aches for her in the delicate White Swan pas de deux, we cheer her on when she switches to the calculating Black Swan, and then we’re back to anguish when she dons the white costume again.
Paired with James Kirby Rogers as her Siegfried, the couple are well-matched in partnering and on-stage chemistry. Rogers is a generous dancer with a deep plié, giving his solos a wonderful groundedness.
The Prince and Odette’s first meeting is always difficult to manage.
The issue being that the swan is supposed to be flighty and suspicious and yet they need to partner with each other, and subsequently enter personal space. The pair manage it well despite it not making much sense.
In the exciting Black Swan pas de deux, Rausch is saucy and plays hard to get while Rogers is both intrigued and confused. What makes the pas de deux is Rausch’s enthusiasm upon completing the intimidating 32 fouettés, a victorious air bite and a glimmer in her eye, the audience joins her on the same level.
A shoutout must be made to the corps de ballet dancers who go from party attendant, to swan, to third act diverts, and then back to swans for the fourth act. That’s right, some dancers are in all four acts and this should be celebrated along with Odile’s 32 fouettés.
The lake scenes rely heavily on the flock of swans weaving around the stage in different formations and moving in unison. A spectacle of unicity, the Pas de quatre (sometimes known as Four Little Swans) is always an audience favorite. Stowell goes for a traditional rendition and the dancers execute the synchronicity well.
Also excellent was Kuu Sakuragi as the Jester. A newer member to the company and still in the corps de ballet, Sakuragi is sure to be a dancer to watch.
Additionally, the pas de trois danced by Leta Biasucci, Kyle Davis, and Angelica Generosa was a polished opener to the ballet.
The end of Swan Lake is always a toss-up in my opinion: Does the couple die? Does Rothbart die? Does nobody die?
I’ve never been fully satiated by any rendition; the destruction of Rothbart is always cheesy (usually a wing ripped off while the dancer tucks an arm behind their back) leaving the couple’s fate overshadowed.
Or one could opt for Stowell’s choice, where Siegfried’s incorrect vow of love to Odile dooms Odette back to her life in the flock. Everyone is unharmed physically, but the heart break of Siegfried’s mistake lays heavy on the stage.
I almost prefer this version if only because there is no corny fighting. It’s a safe choice. And that’s really what this version is: a classic that’s been dusted off but not redone.
Featured Photo of Pacific Northwest Ballet principal dancer Lesley Rausch and soloist James Kirby Rogers (with Otto Neubert) in Kent Stowell’s Swan Lake. Photo © Angela Sterling.
