Utah Ballet Review

Utah Ballet’s production of their spring repertoire was a variety show featuring many contemporary works by various choreographers and closed with the classic second act of Swan Lake. The story of Swan Lake has been captivating audiences for over a century. Prince Siegfried falls in love with the Swan Princess Odette, who has been cursed by the sorcerer Von Rothbart.

Petipa’s iconic choreography to Tchaikovsky’s lilting score was beautifully performed by the Ballet Majors of the School of Dance. After intermission and the overture, the blue curtains pulled back allowing the lake mist to overflow into the audience. Prince Siegfried made his way on stage through the ankle-deep fog. Siegfried’s face revealed his curiosity. His chiseled jaw and formal presentation caught my attention. His eyes darted here and there as he made his way around the stage, rustic brown crossbow in hand. Even though the Prince’s entrance only contained simple gestures, slow walking, kneeling, and some lunging with his crossbow, he maintained the audience’s attention throughout his delicate advancement across the stage.

The music queued the Swan Queen’s entrance and Siegfried directed my eye to the upstage right corner where Odette burst through the wings in a graceful grand jete’. Shaky at first, but progressively gaining confidence, she intricately placed her wing-like arms down one after another.

Siegfried surprised her as he stepped back on stage after placing his bow down. Eyes wide with fear, Odette ran from him to center stage arms flapping. There was a unique array of emotions during the pas de deux; curiosity, inquiry, exploration, tenderness, intimacy, and endearment seasoned every gesture, particularly the embraces throughout the choreography.

When the music triggered Von Rothbart's entrance, the owl-like man smized in Prince Siegfried’s direction. Knowing his spell would prevent Siegfried from attempting to kill him otherwise, Odette would die before the spell was broken. Von Rothbart's magnificent wingspan portrayed power and capability. His headpiece was like a tall crown, giving him more height in his intimidating stature. The role of this villain was danced emotively and courageously. I was on the edge of my seat as the score began to grow in power and magnitude while Siegfried ran for his bow to shoot Rothbart, but Odette pleaded with him not to fire his crossbow for if he did, before the spell was broken, she would die with Rothbart.

Under Rothbart’s spell and in his control, Odette was forced to follow his command and exited the stage performing a clean glide into a classic swan attitude hold, leg curved and nearing her head as she bent back dramatically. Siegfried courageously stood his ground and did not fear the Rothbart’s threat. There was an ominous pause in the music, and after the men glared at one another, they exited the stage in different directions both with power. The corps de ballet emerged in ascending height order, boureeing and fluttering their arms like wings. A serenade of swans entered the stage one after another, steps synchronized and clear. Their movements were well rehearsed, and a sense of solemnity or obligation led them single file onto the gray marley. The ballerinas’ pink, calamine pointe shoes tapped dynamically in unison with the music.

The stage presented an impressive and mysterious backdrop, hand painted trees lilting and surrounding a brilliantly blue lake. Reflections of the swans on the gray shiny marley looking back at them displayed and resembled the lake. The corps wore stunningly detailed white tutus, unsoiled with sweat and identical in feathered design. There were innovative lighting choices like side lit casting that created some shadows and white spotlights singling out Odette and her pure white skin, all of which brought the enchanted lake to life.

Odette was truly incredible to watch. Every line, every extension and every suspension was executed with grace and freedom even under Rothbart’s control. Not only was she strong and flexible with gorgeous feet, Odette also had beautiful features. Her bourrees made her seem as if she was actually floating.

The four small swans were nearly identical in movement and size; I wouldn’t be surprised if their rehearsals related to or consisted of somewhat militaristic exercises with endless repetition of the choreography. They were perfectly in time with one another and the music. Their feet light, and precise. Although petite, they devoured space easily and offered sharp diagonal formations.

The corps was well trained in holding their poses and matching their lines. On the sides of the stage as framework for the pas de deux, small swans, and big swans, they were beautifully placed. Checking and judging the corps de ballet’s arrangements, they were consistently in order and never distracted from the featured choreography. The patterns and pathways were not complicated but were well held and evenly spaced. Even their bows and exits were well prepared and practiced.

The characters were especially compelling and unique. Each dancer truly embraced the roles they were given, and it brought the well-known story of Swan Lake to life. Few smiles accompanied the dancers in this emotional act of Swan Lake, but as they bowed and curtsied dimples were present.

I found this year’s performance of the iconic Tchaikovsky’s score to be superb. For college students, many of which were freshman, the level of technical ability and precision was extremely impressive. It was obvious that the dancers had been working and implementing practice into their schedules daily. There was evidence that thought, and care had been put into the makeup details and arrangement of the feathers on the ballerina’s heads. The amount of professionalism was stunning and breathtaking. The second act of Utah Ballet Two was a splendid demonstration of the beloved, classical ballet.