World Ballet paddles in shaky 'Swan Lake'

World Ballet Company presented its glittering version of "Swan Lake" at Proctors Theatre on Sunday night. (Photo courtesy of World Ballet Company) 

The last night in a series of one-night stands must come as a brutal relief.

That’s where World Ballet Company found itself on Sunday evening at Proctors Theatre – the end of a run of “Swan Lake.” Sadly, the dancers seemed tired and, at times, sloppy. While Lina Sheveleva danced Odette/Odile with excellence, many of the dancers appeared to be only going through the motions, sometimes carelessly.

There are always slips and out-of-sync errors in ballet, but on Sunday there seemed to be more than usual. At one point, Georgii Stelmakh, dancing the role of Prince Siegfried, nearly dropped Sheveleva from the second act’s high, final triumphal lift.

This was surprising as World Ballet Company is one of the better touring ensembles. Based in Los Angeles, the company has many fine productions – with sparkling sets and costumes and many first-rate dancers, most from Eastern European countries. For Sunday’s show, they traveled with the company’s orchestra, which was anticipated to elevate the production to the highest level.

But even a well-played Tchaikovsky classic, can’t endure exhaustion.

While there were some unfortunate moments, this production is still beautiful. It begins with a flashback during the overture when Odette, behind a smoky and shimmering drop, is seen captured by the evil Rothbart who turns her and her retinue into swans. Under his spell, Odette is only human at night. Only a true, forever love can remove Rothbart’s curse.

Of course, when the Prince Siegfried arrives at the lake on a hunting expedition and sees Odette, he is enraptured and promises his love forever. Rothbart, seeing this, unspools a new plot to keep Odette and her entourage his captives.

Some of the ballet’s best moments are seen at the lake where Odette is accompanied by a flock of swans that deploy in dazzling, swirling formations. The corps de ballet kept the magic of the ballet intact, as did the quartet of tiny swans with their coordinated, connected pas.

Konstantin Geronik, as the jester, had his moments too. With his brilliant bouncing and antics, he was a welcome sight in every palace scene.

The trio who danced the Russian variation in the second act were also divine. But the Spanish variation was not. Here, again, the lead female dancer came close to tumbling to the floor as her male escorts stumbled.

Stelmakh as Siegfried was a decent soloist, capable and clean tours en l’air and entrechats six. But in his partnering of Sheveleva, the connection was cool. The two followed the choreography – rocking embraces, hands over hearts – without an emotional effort to make it feel genuine. That was disappointing.

Finally, this version of “Swan Lake,” which traditionally ends in tragedy with the two lovers either killing themselves or separating forever, ends happily. Siegfried kills Rothbart and Odette is restored to human form, allowing her to live in bliss with her prince.
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At least, there was that.