'Swan Lake' furthers fruitful collaboration of Indianapalis Ballet and Indianapolis Symphony Orchestra

Continuing the young tradition of working together once a year, the Indianapolis Ballet and the

The iconic swans in this weekend's production of "Swan Lake"

Indianapolis Symphony Orchestra joined forces for a production of a major work in Clowes Hall. This time it is "Swan Lake," which survives at the pinnacle of its art form, isolated in appearance and virtuosity from other works of its era and the source of the image of the tutu by which ballet is known to the masses. 

Last year's ISO/IB "Romeo and Juliet," set for dance purposes by Sergei Prokofiev, has its own stature, but carries echoes of a well-known Shakespeare play familiar to many from stage and screen versions. Its enduring modern adaptation, "West Side Story," has become emblematic of the theme of tribal and family loyalty overmastering the urgency of romantic love.

No magic guides that scenario, but in "Swan Lake," the supernatural is  a core element. Without  enchantment and the suspension of disbelief that accepts the evil-minded transformation of nubile maidens into swans, there would of course have been no story. 

Ballet history is full of accounts of how to handle the ending of Marius Petipa's choreography linked to Peter Tchaikovsky's justifiably enduring score. From overall tragedy requiring the deaths of good and bad characters alike, there is the "happy ending" suggested by the transfiguration of the lovers, Prince Siegfried and the Swan Queen Odette, against the destruction of the sorcerer Von Rothbart and the lifting of his evil spell.

What IB founding artistic director Victoria Lyras suggests in this final scene is that the true love of Siegfried and Odette, with loyalty and heroism equally uplifted, deserves an implied reward as we see them together at last in the wake of their self-sacrifice. Given the three sold-out shows of this production (the second this afternoon, the finale this evening), I don't need to fret about spoilers here.

The quality of the opening-night performance of the two principals, Yoshiko Kamikusa and Luzemberg Santana (the matinee will have Trevor PinterParsons as the Prince, Santana as von Rothbart, exchanging roles), more than adequately substantiated the audience's right to root for Odette and Siegfried and to require their eventual victory. The attendant swans, so precisely and inspiringly coordinated in Act II at the Lake where Von Rothbart rules, projected their yearning for release. Near the end, the end of the spell was clearly signaled, initiated by Leading Swans Jacqueline Hodek and Sierra Levin, as postures of enchantment among the corps de ballet vanished into liberation. 

Hodek and Levin had earlier been outstanding, along with William Robinson as Siegfried's friend Benno, in the first-act Pas de Trois. Robinson, who lent comical gifts so well to "Romeo and Juliet" as Mercutio, in "Swan Lake" carried off with elan the more straightforward characterization of good companion. Benno is crucial in guiding his fellow huntsmen's understanding of Siegfried's change of heart once the Prince becomes infatuated with Odette. 

At that point, the action is irrevocably no longer about making good use of the birthday gift of a cross-bow, nor is it subject to his mother the Queen's (Michelle Merrell) imperious insistence that he choose among eligible princesses and lose no time in starting a family. Romantic works of art don't for long permit much deflection  from the urgent demands of true love: It's thanks for the weapon, Mom, but I've got other goals in view now.

Since enchantment is involved, however, "Swan Lake" takes a crucial side trip in the third act into the

Malignant sorcerer's "dragonfly iridescence"

scheme of Von Rothbart to draw Siegfried's attraction away from Odette and onto her shadow opposite, his daughter Odile, the Black Swan. In taking on both roles, as is customary, Kamikusa was irreproachable. Not only technically adept in the solo variation notable for the success of multiple fouettes (turns with the raised leg whipping around the other), her Black Swan  startled the mesmerized Siegfried with a brief, spot-on imitation of Odette. 

That lent a further hint to the reminder through a window of Odette as an Apparition (Sierra Levin) that  the Prince's vow to Odette has been tested to the breaking point. Santana was comparably adept in his solo variation, as he had been in the sublime pas de deux in the second act, where the sudden love between prince and captured swan burst out convincingly from both principals. 

The musical setting of this crucial episode was tenderly projected by Kevin Lin's solo violin, introduced by the ardent, crystalline harp of Claire Thai. The performance of the ISO in the spacious pit was uniformly good, with a spectacular level achieved in the character dances of Act II  (the joined hands and flawless feet of the Four Cygnets was matched by the perky accompaniment). There were instrumental glories as well in the dramatic flair of Act IV, with notable cameo-scale work from flute, horn, double reeds, and tuba and lots of brilliant ensemble amid the definitive roiling stage clouds of the exploding lake. ISO pops maestro Jack Everly was the seasoned master of these revels and presided capably over the stunning range of poignancy and pageantry embodied in Tchaikovsky's score.

The set design by Mark F. Smith and Paul Vitali was more than serviceable in conveying the magnificence of the royal palace and the brooding mystery of the enchanted lake. The contrast of settings is a huge contributor to the story's impact. The costumes, by Lyras and Loukia Finale, had the right dash, efficiency  and variety, especially in the second act, and in the dragonfly iridescence of Von Rothbart in full demonic regalia in the third. Gazing at that glowing wingspan, you almost needed nerves of stone not to feel the peril faced by the spellbound swans, especially by their smitten queen and her princely lover. This production is that successful.

[ Photo: Sonja Clark of Moonbug Photography]