By Kathryn Olsen
There are many stories well-known for their timeless romances, and as Valentine’s Day approaches, Salt Lake City‘s Ballet West is bringing an unforgettable production of Swan Lake to the Capitol Theater. This ballet by Piotr Ilyich Tchaikovsky premiered in 1875 and has subsequently been retold in many formats, from The Swan Princess cartoon to a whimsical adaptation starring Barbie, but the original is a moving exploration of what evils true love can overcome. I myself approached this production with decades of experience with the story and strong opinions about which of several endings should be used, but I was willing to believe in its magic if the cast were compelling enough.
As Natalie Portman says in her Oscar-winning performance as the Swan Queen, Swan Lake is “about a girl who gets turned into a swan and she needs love to break the spell, but her prince falls for the wrong girl.” Siegfried (Chase O’Connell), a young prince with a royal responsibility to marry wisely, is hunting one night when the swan who is his next target becomes a beautiful young woman by the light of the moon. Odette (Beckann Sisk) is cursed to only regain human form by night, and she and her swan maidens are under the constant influence of the sorcerer Von Rothbart (Rex Tilton). While Siegfried vows to free them all from the curse by pledging his love to Odette, Von Rothbart is aware of the plot and ready to foil it at every turn. The unraveling of the quest for love and the eventual resolution are what make this piece so memorable and lovely but fundamentally tragic at times.
Ballet West approaches some of the story with different dynamics, which renders it more relatable. The prince’s tale begins at a birthday celebration in which he is actively involved in looking after his subjects but feels unable to join in. Odette’s prologue shows her inclusion and acceptance in her own home, while she lives a very lonely life as leader of the swan maidens. While we know that the story centers on solitary figures, this production gives a community context to their stories. The two characters leave behind their isolation and reservation only when dancing with each other. In addition, Von Rothbart has a much more direct influence over some parts of the story than in other productions. It is also the only production I have seen that incorporates young dancers, but as they are subjects in Siegfried’s kingdom, their presence is effective and contributes quite a lot to the first act.
Sisk is an undeniably powerful stage presence as both Odette and the ensorcelled twin Odile. This dual role is demanding because one is emotionally honest, vulnerable, and brave, while the other is a manipulating parody of Odette with evil intentions. Sisk plays protagonist and antagonist with such skill that it would not be surprising to find that they are danced by two separate artists.
Siegfried is a consummate tragic hero who pursues a just outcome wholeheartedly but is foiled. O’Connell plays the brave and chivalrous character with both grace and power while adding moments of very real humor in his interactions with his courtiers. The synergy between the love interests is one based on mutual compassion and unusual courage resulting from the complete immersion of the dancers in their roles. The resulting chemistry is magnificent.
Von Rothbart, the sorcerer, might seem overstated as a villain in his dramatic winged costume and bold makeup, but at no point does Tilton stop being a very real menace. Even when he is masquerading as a loving father in Act III, his greed and vindictiveness is only thinly veiled. This production’s interpretation of the sorcerer demands that he interfere in duets and change the dynamic of a love scene with his cunning interference and Tilton’s performance is consistently impressive.
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The principal members of Siegfried’s court make a lasting, if brief, impression. Queen Jane Wood encourages her son to marry with an urgency that borders on comedy but shows real affection for her son. Benno (Tyler Gum) is the prince’s closest confidant who spends a great deal of time pursuing his own entertainment in the form of several technically-demanding pas de trois dances but is faultlessly loyal when called upon in an hour of need. The most transformed of the minor characters is Wolfgang (Trevor Naumann), who is the court Major Domo but is not too officious to share a dance with one of the younger courtiers or take a joke in good spirits.
Swan Lake relies heavily on the corps de ballet and the results are marvelous to watch. Smaller ensembles are required for such scenes as the famous “Dance of the Little Swans” or the various waltzes throughout the ballet, but the larger ensemble is impressively unified in its excellence and often manages to convey very personal opinions en masse. At the birthday ball, when six princesses from different lands present themselves as potential brides, they are captivating in themselves but enhanced by the brief scenes highlighting their national heritages. As mentioned before, the inclusion of student dancers expands the story’s relevance and gives Siegfried’s kingdom a welcome air of authenticity.
The technical team for this production must be mentioned. While the production was conceived and produced by Artistic Director Adam Sklute, the sets and costumes by Peter Cazalet are as much a contribution to the story as the plot itself is. The lighting by Kevin Dreyer seamlessly marks the passage of a night and enriches the festivities that take place in the palace. The choreography by Marius Petipa and Lev Ivanov is familiar and widely-used around the world, but additional choreography was contributed by Mark Goldweber and Pamela Robinson Harris, and it often adds insight or foreshadowing to the Petipa and Ivanov work. Finally, the orchestra led by Jared Oaks in his inaugural season as music director is both dazzling and responsive to the nuances of the dancers’ storytelling.
Ten performances remain, and there is no better time to rediscover true love, so invite yourself into this mystical world without delay. It is suitable for school-age children as well as adults.
Ballet West presents Swan Lake by Piotr Ilyich Tchaikovsky.
Capitol Theater, 50 W 200 S, Salt Lake City, UT 84101
February 8-23, 2019 7:30 PM, Mon-Fri, Sat-Sun matinee 2:00 PM
Tickets: $20-117
Contact: (801) 355-2787
www.balletwest.org
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