With television cameras rolling Tuesday night at the Kennedy Center, American Ballet Theatre turned in a gorgeous performance of "Swan Lake." PBS taped the live event for broadcast this summer on its "Dance in America" series. But if the prospect of a permanent record raised anxiety levels among the dancers, there was no sign of it in what amounted to a polished and uncommonly gutsy spectacle.
It is fitting that the Opera House is hosting the TV crew, since it was there that this production, choreographed by ABT Artistic Director Kevin McKenzie (who followed the 1895 blueprint by Marius Petipa and Lev Ivanov), received its world premiere five years ago. McKenzie's production is not for purists, but it is perfect for TV. Zack Brown's sets and costumes are a radiant eyeful, with gowns in pastel hues dripping with expensive-looking details, yet for all their richness they appear weightless in motion. While the design elements were embellished, however, the dancing was in some cases stripped down. McKenzie tightened the action, limiting the ballet to just one intermission by making cuts here and there to quicken the pace, though this means that some of the most picturesque and emotionally resonant swan choreography from Act 4 is lost.
Gillian Murphy's portrayals of Odile and Odette were clear, if uncomplicated, and technically strong.
(Rosalie O'connor -- American Ballet Theatre)
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McKenzie also tacked on a fire-and-smoke-filled prologue -- more of a cartoon than an organic part of the ballet -- that spells out Princess Odette's transformation into swan form by the sorcerer Von Rothbart. As a further novelty, Von Rothbart himself is danced by two men, one a green horned creature who looks like an escapee from Middle-earth (this is the one who slinks around during the moonlit encounter between Odette and the love-struck Prince Siegfried) and the other an elegant aristocrat (the party-crasher who, accompanied by his daughter, Odile, tricks Siegfried into betraying Odette and dooming her to feathers forever).
Recently, McKenzie made even more trims to fit his 2 1/2-hour ballet into TV parameters. Tuesday's performance felt all the more like a sprint to the finish -- while the emotional intensity that marks a truly transporting "Swan Lake" was missing, in part because of the casting, and in part because this conception focuses less on the slow cooking of a mood and the buildup of suspense and more on stagy visual effects and a sense of speed.
It was not a terribly moving "Swan Lake," then, but it was a terrifically impressive one, cast from strength throughout. In the dual role of the enslaved Odette and controlling Odile, Gillian Murphy employed her nearly faultless technique in clear, if uncomplicated, portrayals. Her Odette was skittish and trembly; her Odile a self-satisfied center of attention, though lacking in seductive fire or an irresistible sense of command. Instead, Murphy possessed an air of coolness that underscored her technical strength. Watching her zip around in triple pirouettes and whipping fouetté turns with such reliability brings to mind the imperturbable steadiness of a gyroscope.
One hopes, however, that she will become as meticulous about character as she is about steps, to add more human dimensions to what is now a solid but untextured delivery.
To Angel Corella's Siegfried, however, she was the most perfect creature ever to cross his path; his devotion was one of this ballet's most touching aspects. Corella's dancing, always magnificently huge, has a slight touch of effort to it now, though he has grown into a much more convincing hero than when he danced at the ballet's opening here in 2000. There was a well of feeling in those dark eyes, and his face grew more shadowed and hollow-cheeked as the tragedy deepened.
Xiomara Reyes, Erica Cornejo and Herman Cornejo formed an energizing threesome in the first-act birthday party for Siegfried, kicking the ballet off to a galloping start. In an evening rife with accomplished performances, these were among the most satisfying moments. Reyes is rapidly becoming a favorite of mine. Her appearance is somewhat unconventional -- a strong rather than willowy neck gives her a slightly top-heavy look -- but she makes generous use of every asset: lively arms; open, unstrained shoulders; a lilting upper body; and that broad, expressive face that pitches high feelings to the upper balconies. Herman Cornejo is the company's current emperor of the air, sailing thrillingly through space as if he's been shot out of a crossbow.
Perhaps the greatest performance of all was delivered by the corps de ballet, significantly more cohesive than in last week's "Giselle" and "Les Sylphides." Raggedy edges were all but scoured off. The ensemble attained a glowing, persuasive force, out of which the four smart-stepping Cygnettes and two "big swans" (Stella Abrera and Michele Wiles) emerged as metaphorical echoes of Odette's terrible and terrifyingly beautiful entrapment. The poetry may have been scrubbed out of the picture in this production, but the physical commitment was a marvel to witness.
Performances continue through Sunday, with cast changes. The opening-night cast performs again tonight and Saturday night, with cameras rolling for additional taping both evenings.
