Interludes

THE HANGOVER REPORT – Chloe Misseldine absolutely stuns in American Ballet Theatre’s traditional, well-worn production of SWAN LAKE

• By drediman
• June 13, 2025
• No Comments

This week marks the commencement of American Ballet Theatre’s full length story ballet-driven summer season at The Metropolitan Opera. This year, the company has opted to launch into the run with its well-worn production of Swan Lake (Ballet Theatre will also be closing the six-week season with the production, culminating with the bittersweet retirement of beloved principal dancer Gillian Murphy on July 18th). Since its premiere in 1988, Kevin McKenzie’s staging has been steadily performed and has become one of the company’s biggest ticket sellers. Although the production could use a touch-up, it continues to be a compellingly traditional vision that provides a nice contrast to Peter Martins’ more modernist, dance-driven version for New York City Ballet just a few steps away.

On Wednesday matinee, the performance was led by the sensational young principal Chloe Misseldine, who was absolutely stunning in the central dual roles of Odette/Odile. Misseldine is one of the most exciting talents to emerge from the New York classical ballet world in years (alongside City Ballet’s equally astonishing Mira Nadon), and she proved why in a commanding performance that showcased her budding versatility — treating us to a luxuriously languid Odette, juxtaposed to the aggressiveness and crispness of her Odile. Throughout, she showed off her glorious extensions and exquisite lines, qualities that actually make her seen taller and more regal, invariably drawing your eyes towards her whenever she’s onstage. Misseldine also exhibited intelligent musicality — playing with the cadence of her movements on her way to emphatically hitting her positions — and proved to be a sensitive actress whose dramatic instincts seem to come from deep within without the aid actorly histrionics.

As Prince Siegfried, fellow principal Aran Bell was surprisingly underpowered, even somewhat sluggish — and not as princely as we’re used to seeing him be. Let’s hope it’s just early-season tentativeness. As the evil sorcerer von Rothbart, corps member Joseph Markey gave an admirable performance, although I do miss the bravado and brash attitude that storied Ballet Theatre dancers of the past — like Marcelo Gomes — have injected into the role. The first act saw an adequate peasant pas de trois from soloist Patrick Frenette and corps members Sierra Armstrong and Virginia Lensi (Frenette’s sharp dancing stood out). Overall, the corps de ballet looked to be in fine shape. While still trying to navigate and calibrate themselves on the huge Met stage, their dancing grew stronger as the performance wore on.

RECOMMENDED

SWAN LAKE
Dance
American Ballet Theatre at The Metropolitan Opera
2 hours, 30 minutes (with one intermission)
ABT’s summer season concludes on July 19