Image courtesy of abt.org
The late great American Prima Ballerina Maria Tallchief once said that “If the Swan Queen is not good then it doesn’t matter how good the 32 swans dancing behind her is.” American Ballet Theatre proved her halfway wrong. Though Devon Teuscher as Odette/Odile in American Ballet Theatre’s (ABT) “Swan Lake” was superb, the swan corps de ballet also sparkled and shined. And it does matter that ABT’s swan corps de ballet is good, in fact, they are outstanding.
“Swan Lake” is one of the great warhorses of the classical ballet repertoire. Most ballerinas of any worth don’t feel as though they have earned the right to call themselves prima ballerinas until they have conquered “Swan Lake.” Still, one of the most forgotten elements of this great ballet classic is the precision and technical acuity needed to dance in the swan corps de ballet. Every swan is a reflection of Odette, the Swan Queen. And every step and port de bras must be exact. The corps de ballet must move as one with the same purpose.
Interestingly, ABT’s swan corps de ballet is not comprised of female dancers that look exactly alike. Some of the swans are taller, shorter, and more roundly feminine than others, giving the corps de ballet a projection of mature, adult swans. This is a+ change from bygone eras where artistic directors and coaches demanded uniformity in body composition.
Image of criticaldance.com
ABT reflects a new era where uniformity is expressed in exactitude of movement and intention. And in this modern era that makes more sense.
What should also be noted is that this Thursday matinee performance the swan corps de ballet had three identifiable brown ballerinas, Madison Brown, Kyra Coco, and Aleisha Walker. These brown ballerinas in no way distracted from the uniformity and cohesiveness of the swan corps de ballet. This inclusion proves that we are in a new era in ballet—and we thank former ABT principal dancer Misty Copeland for this expansiveness.
Image courtesy of dancetabs.com
Devon Teuscher as Odette/Odile brought a nuanced, seasoned portrayal. Every detail of her performance was on full display. From the undulation of her swan port de bras to the exquisite use of her well-stretched articulate feet to her well-projected mime sequences, this was a Swan Queen with intention. You felt her longing, her pathos, her vulnerability, and ultimately her surrender. And though she may be in the twilight of her career, Teuscher can still execute some fantastic double fouetté turns.
Jarod Curley as Prince Siegfreid did not match Teuscher seasoned Swan Queen. The technical brilliance is in place; however, Curley’s Siegfried is not yet well developed. Luckily for Curley his pairing with Teuscher got him through some of the rough spots.
Image courtesy of criticaldance.com
Artistic Director Susan Jaffe and ABT’s rehearsal coaches are doing a fine job keeping the corps de ballet crisp and intentional. It takes an entire, commented cast to pull off “Swan Lake,” and a round of bravos are extended to American Ballet Theatre for keeping an old ballet classic fresh and vibrant.
—William S. Gooch
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