American Ballet Theatre: Swan Lake

American Ballet Theatre: Swan Lake -
Lyric Theatre, QPAC, 28 August -

There was disappointment voiced by some diehard balletomanes when Swan Lake was announced as one of the ballets American Ballet Theatre (ABT) would be performing in Brisbane. Too clichéd! But as the measure of a company, this classic cannot be matched, and besides, the 2000 revival by ABT Artistic Director Kevin McKenzie had been described as spectacular and breathtakingly beautiful, therefore promising much.

Visually it certainly delivered – I don’t think I have seen a more opulent setting of the ballet. The bucolic village scene of Act One and sumptuous gold and silver decorated Great Hall of Act Three are in sharp contrast to the gothic lakeside setting of gnarled woods and dank looking rocky outcrops.

Zack Brown, who designed both sets and costumes, has located the ballet somewhere in Europe around the 17th century, with the Elizabethan styled costuming of lilac, oranges, saffron and lime green in the third act particularly striking.

McKenzie has massaged the original story only a little, using the overture to create a prologue, which effectively explains Odette’s bewitchment, and at the same time revealing Von Rothbart as both the sorcerer and nobleman, well before the third act. It gives logic to the ensuing tale.

In spite of its visual splendour, this evening the ballet took some time to get off the ground with a decided lack of urgency in Act One and some of the dancers appearing less than fully engaged. While the traditional pas de trois was danced with finesse and vivacity by Melanie Hamrick and Stella Abrera, Blaine Hoven, (also Benno in this production) gave quite an expressionless performance. Perhaps the sometimes rather slow delivery of the Tchaikovsky score, otherwise lusciously played by the Queensland Orchestra under Ormsby Wilkins, was a contributing factor.

The second act however, conveyed all the requisite magic, with the familiar shapes and moving patterns of the Ivanov choreography danced on the whole, with exquisite precision. The entrance of the swans by the well-drilled corps de ballet was quite thrilling, while the four cygnets were as one.

As Odette, Hee Seo was beautiful looking and dramatically convincing. Long tapering legs, beautifully articulated feet and fluid, almost boneless arms made her interpretation of fragility and vulnerability quite spellbinding. In contrast, her glittering Odile was delivered with a killer smile and razor sharp technique that oozed seduction. It was a pity that her fouettes, executed through rather than on the beat, were less secure.

Cory Stearns, as Siegfried, has a glorious ballon, with huge juicy landings, beautiful phrasing and a seamless line. Although there was little in the first act to give much support to any development of his character beyond that of a lovelorn prince (his first act solo is also largely done away with), his wonderment on meeting Odette was palpable, as we saw his hesitation before touching her. It was a lovely moment.

The third act has all the requisite princesses and dances from distant lands; the Neapolitan dancers, Joseph Gorak and Zhiyao Zhang in particular bringing energy and chutzpah to the proceedings with a duet of snappy turns and beaten jumps.

Von Rothbart, in his guise as a nobleman, is more central to the action in McKenzie’s version. The bearded Alexandre Hammoudi was both sorcerer and seducer as he ‘bewitched’ the court with a very controlled and mesmeric solo to music usually for the Russian Dance.

With the lavish third act set taking up over a third of the stage, some of the broader movement particularly in Siegfried’s solo and coda appeared a little compromised. In fact slight difficulties managing the space were noticed throughout.

However, aside from what I assume were first night issues only, this is a Swan Lake worth seeing. And with a different principal cast on almost every performance, probably more than once.

– DENISE RICHARDSON