ABT 2026: Swan Lake
Hee Seo and Roman Zhurbin in Swan Lake. Photo; Gene Schiavone.
The evening of June 17, 2026, saw American Ballet Theatre present the second performance of their summer season with ‘Swan Lake.’
Leading the orchestra this evening was David LaMarche, who brought ample shades of beauty and weight alike to Tchaikovsky’s iconic score, beautifully establishing much of the magic that would take place.
In the role of Odette, Hee Seo displayed sensational elegance and virtuosity. Her brief scene in the opening balanced a fine vulnerability as Seo is quickly seized upon by Von Rothbart, while treating the audience to some early athleticism as she turned about during her lifts to evoke the sense of transfiguration into her swan form.
Through the night, Seo was in splendid control of her technique. Moments such as her adagio upon meeting Prince Siegfried were beautifully highlighted by facets like the quiver in her working leg as she started in a place of timidity, while her flexibility allowed her to display deep cambrés which nearly swept the floor. These qualities enabled Seo to evoke a sense of flying regardless of where she was in relation to the ground. Despite this elegance, Seo did not lack for energy, doling out passé steps with utter bravura during her act 1 variations.
Her time as the Black Swan, Odille, was both captivating and exciting. The difference in demeanor was related more in body language than relying on facial expression, creating a more convincing act for her to ensnare the prince. This more confidant bearing excelled through moments between the numbers, such as when she has Siegfried wait with a nearly-imperious turn of her lifted hand, or their charged pas d’action and variations, where Seo let loose with tremendous flair, capping it all off with a sensational delivery of the famed 32 fouettés.
James Whiteside in Swan Lake. Photo: Gene Schiavone.
As Prince Siegfried, James Whiteside made for a splendid showing as the lovelorn royal. His dramatic sensibility carried much of the plot in earlier scenes, able to meaningfully relate Siegfried’s initially-despondent nature through trailing phrases or the recurring “wedding ring” gesture which recalls his princely obligations, as well as all the ecstatic heights when meeting Odette. Physically, Whiteside thrilled from the get-go as he let loose with a powerful tour of jetés during the maypole dance, and his control allowed parenthetical moments of sorrow to really flesh out his character as he drew great nuance out of his introspective choreography.
With Seo’s Odette, Whiteside took his passion to even greater heights, seen first in their nearly-magnetic circling about each other in a charged phrase of pursuing turns and smaller leaps. Their experience and sensitivity let this pas d’action deftly unfold from the lyrical romance of its adagio to the truly exciting fervor of its variations. Their tragic finale was navigated with a crushing beauty as Seo waned further into death, the two attempting various lifts and gestural motifs to little avail, and their ultimate leap into eternity was expertly prepared due to the intensity of its preceding moments of struggle against Von Rothbart. Splendid dancers in their own right, Seo and Whiteside made a truly exciting pair and often drew tremendous applause from the audience.
Jose Sebastian in Swan Lake. Photo: Rosalie O’Connor Photography.
Sharing the role of Von Rothbart was Jose Sebastien in his human guise, with his true form played by Roman Zhurbin. Sebastien continued to bring a magnetic charm to his take on the villain, as seen in his brief appearance during the opening, which elaborated to devilish heights during his time in the third act. His approach to greet the Queen had a suitable, oily quality before his dance with various princesses set this feeling ablaze as Sebastien let loose against the wailing upper registers of the violins with fierce leaps and slick chaines. In his monstrous form, Zhurbin’s presence added much to the drama of their moments. From just a brief appearance during the introduction, to his lakeside confrontations with Siegfried in the second and fourth acts, Zhurbin played this character role with great flair and sufficient menace.
Rounding out the cast that night was Sung Woo Han as Benno, the prince’s friend. His act 1 pas de trois held warmth and charm as he partnered off with dancers Sierra Armstrong and Virginia Lensi, before letting loose with some exciting variations of their own. As Siegfried’s woes continued to ail him until his later meeting with Odette, the positivity and concern Han’s Benno held for his friend made for a trusty take on this supporting role.
The corps de ballet were beautifully showcased through the ensemble numbers. From the jovial en l’air turns and lifts during the village dances, to the foreign opulence of the third act’s divertissements, these numbers were enjoyable to watch and felt natural enough to their setting that they amplified rather than broke any emotional or dramatic continuity. Dancing the princesses of the third act were Atau Watanabe, Lauren Bonfiglio, Elizabeth Beyer, and Scout Forsythe; together they comprised a beautiful sampler of various colors and styles as they exchanged cordial measures with Siegfried, and provided a beautiful, darker contrast when caught in the spell of Von Rothbart.
The swans of this evening also did much to create a magical atmosphere, employing all manner of elegant formations to bolster the sense of aerial splendor for fellow swan Odette, or to create various obstacles to softly rebuff or envelop Siegfried as he tries to catch her. Dancing the Cygnettes that night were Lauren Bonfiglio, Léa Fleytoux, Hannah Marshall, and Betsy McBride, providing a fine take on this charming interlude comprised of linked steps, pas de chat, and more. Dancing the Two Swans were Zhong-Jing Fang and Ingrid Thomas, who delighted with flowing, lyrical arabesques punctuated with brief, fluttering changements.
Wednesday night’s ‘Swan Lake’ was a nearly perfect example of this ballet’s enduring ability to captivate audiences, from the utter romanticism of the score and plot to the sheer passion of the dancers, it’s clear why this work enjoys a cherished place within the company’s repertoire and the hearts of its patrons.
-Logan Martell