Review: 2010 San Francisco Ballet’s Swan Lake February 3, 2010
Sarah Van Patten in Tomasson's Swan Lake. © Erik Tomasson
There are so many other factors that can affect your experience in the theater. Expectations are a big one – high expectations are hard to meet. However for some reason last Saturday afternoon, the stars were aligned – my expectations in check from last year’s experience, a pleasantly honest and savvy date, and a gorgeous sunny day after days of rain – and I had a wonderful time at San Francisco Ballet’s Swan Lake.
This isn’t your grandmother’s staid Swan Lake of fluttering self-pitying swans. The sparkling costumes and sets by Jonathan Fensom still have that new car smell, with the sets creating an expansive open space for the story to unfold. As beautiful as the sets and costumes are, the best thing is that they allow for the story told through movement to shine.
Despite its deep roots in traditional classical ballet, San Francisco Ballet’s production isn’t a dusty one with uptight perfect fifth position arms. Arms are spread back like wings, twisted in angst and fear. Swans lean forward in lines of regret and surrender. The evil Von Rothbart’s extensions whip out in raging anger as he leaps through the air. Rather than a showcase of textbook technique which can be an end in itself, classical technique is used to further the purposes of the story. The corps of swans were a powerful entity, dancing not only with a remarkable unity but a single minded purpose, dancing with power and an overlay of sadness all communicated through body movements, from assured sweeping arms to eyes cast down. The effect is dramatic and deliciously intimidating in their sheer numbers and solidarity, more like a pack of wild birds than precious animals found in fairytales. The choreography of the pas de trois in the first act is restrained, but dancers Frances Chung, Hansuke Yamamoto (a last minute replacement for Vitor Luiz), and Nutnaree Pipit-Suksun danced with such style that it was hard to notice. Aided greatly by a clipping pace by the orchestra led by Martin West, Chung was delightfully spry with remarkably clear footwork, Pipit-Suksun infused her dancing with a warmth and grandeur in her long extensions, and Yamamoto soared in a winning combination of bravura and gentility in partnering the two ladies. Anthony Spaulding was a mix of fierce aggression and dauntless nobility as Von Rothbart, which made him an intimidating foe. In addition, Anita Paciotti was a strikingly fabulous Queen mother, with a magnetic stage presence dripping with royal airs merely parading around the stage. The dancers brought this classical ballet to life, carving out a cinematic journey that carries the audience through this timeless tragic fairytale.
The near-perfect cast was headed by Sarah Van Patten in the role of Odette/Odile. Her portrayal of the tragic heroine was one that unfolds slowly, sensuously, organically over time. There’s a sumptuous luxury in the way that her movements are unforced yet always growing, and we clearly see the development of her love story from start to finish. From a skittish fear with wide eyes, to growing still when Prince Siegfried catches her hand and looks into her eyes, to a growing trust of backward trust falls trusting him to catch her, to a tremulous foot beating betraying her beating heart. As she turns, she slows and hesitates as she sees her prince – it’s the very picture of a heart faltering. As Odile, Van Patten was all sleek lines glinting cruelly in the light, her confidence in the role visibly improved from last year. She soared in the role of seductress and looked like she was having fun doing it. There was something thrillingly dangerous about the way that she looked up at the audience slowly, fiendishly, deliberately, while dancing with her arms presented and spread wide. Her final pose was triumphant as the Prince is holding her hand, as she throws back her head in silent cruel laughter.
It’s interesting that in this version, I saw not just a love story between two people, but more of a picture of a woman falling in love despite its consequences. Weight is unfairly given to the role of Odette over Prince Siegfried in this romance. It’s a thankless role to be sure, and Prince Siegfried was danced by guest artist Vadim Solomakha. His natural acting ability helps with the angsty moments he had onstage, but in general, he lacked a princely posture when he stood or walked, as he played his part more like a jovial accessible leader who interacts with his people in the first act. In dancing with Odette, he almost disappeared next to Van Patten, and was otherwise unremarkable and technically tenuous in his jump landings and footwork.
In general, I was reminded of how timeless this ballet is, where deception is damning, and the choice to love is heartfelt. San Francisco Ballet’s Swan Lake is a stunning production that will continue to tell the classic tale to modern day audiences. This production rests on the abilities of the dancers to bring it to life, and with the cast that I saw, this can be a very good thing.
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San Francisco Ballet’s Program 2 starts on February 9, including a world premiere with Christopher Wheeldon set to the music of recording artist Kip Winger.
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