Ukraine’s Grand Kyiv Ballet graced the Boston stage with two thrilling performances of Tchaikovsky’s timeless “Swan Lake” Feb. 19 and Feb. 20 at the Emerson Colonial Theatre. This marked one of their many stops on their current U.S. tour of the ballet.
Founded in 2014 by artistic director Oleksandr Stoianov, the Grand Kyiv Ballet has captured the hearts of many audiences around the world as they showcase their dazzling dances and advocate for their community. For this tour, a portion of the proceeds will go to restoring the Main Ballet Academy of Ukraine as well as repairing the children’s dormitory damaged in the Russian-Ukrainian war.
Divided into four acts, the first act of “Swan Lake” begins with Prince Siegfried on the eve of his twenty-first birthday as he celebrates with his friends. The celebration is lit with joy, and they are soon joined by peasants and the Jester. His mother arrives, giving him a crossbow and announcing the ball being held next evening, where he will select a bride. The festivities resume with an energetic dance with goblets before a flock of swans fly overhead, leading Siegfried to leave after them.
On stage, the company’s smaller corps de ballet did not thwart the lively energy of the dance numbers. The dancers’ cheerful dispositions and animated dancing set the tone for the act. The backdrop was simplistic; a Gothic-style castle sat on a mountainside beside a wide river. Female dancers in the corps de ballet were styled in a traditional German dress while male dancers had gray tunics with capes.
Act two begins beside a lake. The famous “Swan Theme” makes its first appearance as Siegfried enters with his crossbow. However, the dark sorcerer Baron von Rothbart shadows him — revealing his nefarious intentions for the prince — until his exit. The prince sees the swan princess Odette, and she tells him only a vow of marriage can break her curse. As the other swans enter and perform the iconic “Dances of the Swan” and “Dance of the Little Swans,” Siegfried professes his love for Odette. Upon daybreak, the swans retreat and the prince swears he will marry Odette.
With the unique lighting of the act, the backdrop of a lake overhung by a bright full moon was more than effective in highlighting all of the dancers. It employed the atmospheric glow of a moonlit night for a majority of the act, which framed the dancers’ synchronized movements and gave them the look of gliding on water. Whenever Rothbart appeared, the change in lighting was drastic. He was accompanied by red lighting, which painted the moon an eerie shade.
The costuming clearly shines with the appearance of the swans and Rothbart. The swans were dressed in understated feathery white tutus and headpieces that complemented their graceful motion. Odette stunned with more intricate silver detailing on her bodice and tutu, as well as a small silver crown befit for a princess of the swans. Meanwhile, Rothbart was akin to an owl, draped in black with two feathery arms and a wing-like headpiece.
A grand ballroom greets the audience for the third act. Prince Siegfried, his mother and the Jester welcome potential brides, and different national dances commence, including a memorable Spanish dance. Siegfried is disinterested — until Rothbart enters with Odile. Entranced by her resemblance to Odette, he dances with Odile and declares he will marry her. After his declaration of betrothal, Rothbart and Odile show their true forms while Odette is revealed watching from the window, heartbroken. Realizing it was a hoax, he rushes off to search for Odette.
Siegfried returns to the lake in act four, where the swans and Odette are grieving. Four black swans have infiltrated the bevy of swans, flawlessly incorporated among the other dancers during the “Waltz for White and Black Swans.” In distress, Siegfried explains what had happened and how he truly loved her. Odette forgives him, but Rothbart intercepts and the two engage in a battle. Siegfried tears off one of Rothbart’s wings, breaking the curse and freeing the swans. Dawn breaks, and a transformed Odette — now free of the feather headpiece that she once wore — runs into Siegfried’s arms as the curtain falls.
Principal dancers Svitlana Svinko and Daniel Kish interpreted the roles of the main couple. Svinko performed as both Princess Odette and the malicious Odile. As Odette, she was the picture of a devastated woman, face taut. Only when she was relinquished of the curse did the mourning disappear from her face. Oppositely, Svinko’s Odile was calculated, with sharp arches and a roguish smile. Though Odile’s costume was a black replica of Odette’s with differing gold and red accents, Svinko’s facial expression and mannerism were what truly distinguished her two characters from one another.
Kish performed as Prince Siegfried, conveying his complex and changing emotions throughout the entirety of the ballet as he falls in love and has to fight for that love. His dancing was strong and confident — his high jumps particularly impressive — and when partnering with Svinko’s Odette, he accentuated the elegance and polish of her every move.
While the production was limited by the size of the Emerson Colonial Theatre’s stage and the touring company, the Grand Kyiv Ballet demonstrated that excellent execution and evocative dancing will always immerse the audience and provide a brilliant show.
