NYCB SWAN LAKE/Mira Nadon

Review by Celia Ipiotis

For the final two weeks of their season, NYCB presented Peter Martins’ Swan Lake. Designed by Per Kirkeby it resembles the brooding medieval Danish castle that housed Hamlet, The Dark Prince. Muted colors and simple outfits worn by the royal household belie the court’s wealth and power over the lands.  (Von Rotbart)

Of age to marry, Prince Siegfried (Peter Walker) is heartened by the antics of his jester KJ Takahashi but spends the rest of his time moping.  Uninterested in the maidens presented he heads out with his chums for a bit of hunting. Suddenly, he spies a swan by the enchanted lake, a gorgeous swan woman Odette (Mira Nadon) and so the tragic tale unfolds.

Because Swan Lake was born in Russia during the time of the Czars, Petipa and the grand ballet academies, I’ve always felt the Russians dancers spoke Swan Lake in the original tongue, whereas American artists toiled under a translated version. However, in this instance, Nadon spoke fully and forcefully through her body. It’s rare to see a ballerina so fully invested in a role so early in her career and after performing it only three times. I witnessed the final performance and she was ravishing.

An innate rhythm and flowthreaded one movement to the next, in a continuous arc of long, elegant expressions of near flight. Expertly supported by Walker, when Nadon raised her leg in arabesque, her back arched and tilted forward all in one breath. A thrilling sight. There’s lots to keep in mind when performing this iconic role, but unlike other dancers, Nadon hummed through the passages as if on another plane. 

Perhaps more than any other ballet, Swan Lake relies on a performer’s interpretation and imagination. Edward Villella said he went to the ballet to “see a dancer’s  mind.” Nadon proved she embodies the intellect and technique required to transcend this crushing world.

In another debut in the role of the animated jester, KJ Takahashi proved his jack-in-a-box jumping abilities, acrobatics and turns –although the pirouettes could use a little cleaning up so his heel doesn’t drop in the middle of 4 revolutions. That aside, Takahashi delivered the requisite impish qualities.

Another bright point came with the first act pas de trois spotlighting Jules Maabie along with  India Bradley, and Mary Thomas MacKinnon; two young ladies  who are quickly growing into their own. Throughout the evening, the corps manifested the bewitched women of the lake, arms floating over trilling footwork and a myriad of geometric shapes protecting their queen.

After pledging his undying love to Odette in Act I, the second act moved to the party in the castle.  Before the clutch of entertaining acts ensued, Odile (Odette’s evil twin) arrives on the arm of the wicked wizard Von Rotbart (Alec Knight). Odille, dressed in a spikey, black tutu, with a plunging front neckline,  catches Siegfried’s eye, making his heart beat fast.

But before the prince and Odile met again, a pageantry of folk style character dances amused the guests. Among the tasty offerings, Ashley Laracey and Aaeon Sanz swooned through an understated, yet seductive Russian dance.

Finally, Odile occupies the room. She flashed a look at Siegfried and proceeded to sharpen her legs against the glorious Tchaikovsky score. Less grand diva, and more chill seductress, she mesmerized Siegfried by thrusting her appendages into trip lines of daring. Fully capable of the ballet’s technical minefields, Nadon was exquisite in the way her every movement flowed from the top of her head to the end of her toes in one continuous note.

At the end of the pas de deux, she executed the requisite 32 fouettes swinging out single and double turns while traveling a bit. For his part, Walker’s length added finesse to his long leaps.  Together they dreamed.

EYE ON THE ARTS, NY — Celia Ipiotis