The Washington Ballet's first full-length Swan Lake in its 70-year history, partnered by the Evermay Chamber Orchestra in its first foray through Tchaikovsky’s mythical topography, did something wondrous at the Kennedy Center’s Eisenhower Theater last week – quite apart from the magic that transpired on stage. It enticed a remarkably young, diverse and hip crowd into the theatre. For that achievement alone, keepers of the ballet flame should sing hallelujah. A mix of aficionados and ballet virgins – the latter lured, in part, by the celebrity of guest star Misty Copeland, Under Armour spokesmodel and author of a provocative memoir – packed the house for the seven-performance run, during which Copeland appeared twice, in a rare African-American pairing with Brooklyn Mack.
There was much to be thankful for in this staging by Kirk Peterson, who researched Sergeyev’s 1934 production at Sadlers Wells to capture key elements of Petipa and Ivanov’s original choreography.
The 26 musicians assembled expressly for this run, under the baton of Nabil Shehata, delivered a rich sound that thundered and shimmered and wept appropriately.
The tragic tale, so often mangled and needlessly embroidered, is told simply and convincingly, with the delightful deployment of mime – notably by the swan corps in Act IV as they telegraph their concern for the missing swan queen.
There is an old-fashioned Hollywood silent era film star quality to the swan deportment: the delicately smoldering looks, the soft arms, the deep bows from the waist. On the spectrum from creature to human, these swans are human-leaning; Aurora Dickie and Kateryna Derechyna, Sunday’s lead swans, embodied this aesthetic beautifully.
Prince Siegfried is portrayed as a bit of a lad, a skirt-chaser, who lies to his mother about his drinking. His dejected Act I solo expresses dismay at having to give up his carefree lifestyle. Debuting in the role, Brooklyn Mack got off to a shaky start on Sunday evening, but soon showed off the princely bearing and technique required for the role – bracing lines in arabesque, soaring jumps, clean landings from double tours en l'air and double turning assemblées, and demonic grandes pirouettes – as well as a youthful impetuousness that made it easier to comprehend and forgive his terrible betrayal of Odette in Act III. He could not, however, summon up the depth of emotion required at the denouement.
In Act IV, Peterson sends Odette and the Prince off a cliff in a double suicide, upon which the outraged brigade of swan maidens turn on the evil sorcerer, Von Rothbart, and piqué arabesque him to death. Swan Lake endings do not get any more satisfying than this.
Peterson streamlines the Act III court scene, replacing the national dances with a sprightly pas de trois, mirroring the Act I pas de trois at Siegfried’s birthday celebration. Splendid dancing in both by Miguel Anaya, Maki Onuki, Tamako Miyazaki and Ayano Kimura brought down the house on Sunday night.