IMPRESSIONS: American Ballet Theatre's "Swan Lake" at Lincoln Center

American Ballet Theatre
Metropolitan Opera House, Lincoln Center
New York City
Summer Season June 10 – July 19, 2025
Swan Lake
Wednesday, June 11 at 2pm & Saturday, June 14 at 7:30pm
One interesting twist in American Ballet Theatre’s current production of "Swan Lake" at the Metropolitan Opera House is that two dancers portray the story’s evil sorcerer, von Rothbart. One is a swamp creature who hovers over his flock of maiden-swans by the lake, and the other is his dashing alter ego, dressed as a roué to rope in the girls and transform them into doomed water fowl. Whatever happened to him that he has to live this cursed life? And why does he have to pass on the abuse?

The original, unsuccessful production of "Swan Lake" by choreographer Julius Reisinger premiered at Moscow’s Bolshoi Theater in 1877, but it was the Imperial Ballet’s version by Marius Petipa and Lev Ivanov in 1895 St. Petersburg that almost every artistic director of any sizable company tinkers with to this day. The tinker in the case of ABT is its former artistic director, Kevin McKenzie, who introduced his version in 2000.
Susan Jaffe, who was appointed to head the company in December of 2022, was a most formidable swan queen herself. No wonder she has this staple of the classical ballet canon in her focus, and bookends the troupe’s summer season with two weeks of the feathered tale.

A year and a half ago, I got to watch Jaffe coach the young dancer Chloe Misseldine in the part of Odette, the White Swan, during a lecture demonstration at the Guggenheim museum. Misseldine’s long, slender limbs lend themselves to the role of the elegant bird; and Jaffe was pleased to share her discovery with the public. Last summer, after Misseldine’s debut, Jaffe stepped on stage, and promoted her to the rank of principal dancer.
Not having caught that debut, I made sure not to miss this summer’s performance. Opposite Aran Bell as Prince Siegfried, Misseldine was given a Wednesday matinee. The house was well sold.

In the short prologue, Joseph Markey, playing the dapper sorcerer, lures Misseldine close to him. As he turns with her, “abracadabra”, the lake creature (portrayed by Cy Doherty) takes his place, and holds a beautifully made toy swan in his arms.
In Act One, Prince Siegfried’s birthday party is under way, and features a fine pas de trois danced by Patrick Frenette (as Siegfried’s friend Benno) with Sierra Armstrong and Virginia Lensi.

When Siegfried finally wanders off, and, in Act Two, decides not to shoot a beautiful bird, his fate and Odette’s is sealed. But here is where the production falls flat. Where is the expression of wonderment and enchantment? The production by David Blair that preceded the McKenzie tinkering left room to express the magic of a first meeting. Misseldine dances beautifully, and Bell partners her with attention, but they don’t make me feel that they truly fall in love. Bell, who masters all technical demands, seems not quite attuned to her vibration. Breathing patterns matter, when you want to embody harmony. Misseldine does not act through gestures or mime. Her strength is a sensory understanding of being a swan; but, since Bell is firmly and handsomely from this world, my crystal ball does not see a future for them.
The excitement at Saturday evening’s sold out performance is quite different. Corps dancer Michael De La Nuez, making his debut as Siegfried, partners the company’s soon retiring star, Gillian Murphy. Is it his innate gift, or the difference in age and rank that makes him worship her so devotedly? One thing is for certain: the orchestra sounds much fuller, and conductor David LaMarche adjusts some of his tempi to a more reasonable speed. Whatever the circumstances, De La Nuez lives his role, and works through the technical demands on high alert. It gives his dancing an immediacy that draws you in. He does not play to the audience, because he must be present for the steps and for his partner. Enchantingly he rises to the occasion.

I bow to Murphy, who has never looked better. With hypnotizing suppleness in her upper body, she nails each challenge and every turn with ease and precision. Soft, caring, and concerned for herself as well as for Siegfried’s future, she is torn between the promise of salvation and eternal doom should their love fail.
The corps de ballet, cygnettes, and big swans are well rehearsed, and a joy to look at. Lauren Bonfiglio, Léa Fleytoux, Kanon Kimura, Yoon Yung Seo, Nicole Graniero, Anabel Katsnelson, Hannah Marshall, Paulina Waski, Fangqi Li, and Lensi dance fully and generously. It’s as if a spell has lifted, and dancers get to fly rather than be concerned about correctness.

The third act thrills at both performances. Is Markey as von Rothbart sinister enough? His matter-of-factness sends chills down my spine,and saves his character from being a caricature. No wonder everyone believes his promises. Misseldine, as the beguiling Black Swan, Odile, makes Bell break his promise to Odette. Suddenly Markey - with a fiery flash - turns into Doherty. Best of all, the technical prowess is off the charts, but thankfully does not turn into a circus performance. Misseldine and Bell are too cool to be cheap.
Murphy and De La Nuez are not to be outdone. Surely they are excited about one another. Murphy sends sparks in his direction with every double and triple rotation to transfix and deceive him, while he hopes to impress this possible future partner by dancing like a young god. His long, beautifully formed legs make me pray for a miracle. In the end, however, Markey turns into Roman Zhurbin, which I don’t count as a miracle, although it makes me realize that I had not mentioned that Zhurbin was the swampy Rothbart at Saturday’s performance.

Back at the lakeside, there is great sorrow. With any hope for salvation vanished, the principals at least have time to dance a tearful goodbye. Von Rothbart celebrates his victory, but then Odette decides to jump off a cliff, and Siegfried follows to be united with her in death.
As much as I like to tinker with a few things, I am taken by these performances, and especially by the fantastic performers. Strong dancing on every level from corps to principals makes the company a must-see. Fortunately, you will have a chance to catch them before the season ends with a final week of Swan Lake, July 14-19.
Murphy’s final curtain will rise and descend on July 18. Even though her partner will not be De La Nuez, I have the feeling that it will be a night to remember.