Elle Macy and James Kirby Rogers in Kent Stowell's Swan Lake at Pacific Northwest Ballet. ANGELA STERLING
When Pacific Northwest Ballet announced principal casting for Swan Lake, I was delighted, and relieved to see that Elle Macy had been cast to perform the role of Odette/Odile. A dancer applauded for her contemporary work, Macy shines in works like Edwaard Liang’s “The Veil Between Worlds”, Justin Peck’s “In the Countenance of Kings”, Penny Saunders’ “Wonderland”, David Dawson’s “Empire Noir”, and Alejandro Cerrudo’s “Little Mortal Jump”. Although she has recently debuted leading roles in classical ballets (Myrtha in “Giselle”, Titania in “A Midsummer Night’s Dream”) I occasionally fear that her excellence in contemporary repertory may cause her to be overseen in classical opportunities.
The truth is that she is a force to be reckoned with in both classical and contemporary work. Double whammy. Her Myrtha is fierce, unforgiving, and weightless. Her Titania is a gentle waterfall. Her Hippolyta is as sharp as her arrow. Her Dewdrop soars amid a sea of flowers each year. The last time that PNB performed Swan Lake in April 2022, Macy had only been promoted to principal the previous September, and although she rehearsed the role of Odette/Odile, she, alongside Cecelia Ilieusiu, did not ultimately perform it.
This year, Elle Macy was cast to perform Odette/Odile alongside James Kirby Rogers. Rogers previously performed Siegfried with Lesley Rausch as Odette/Odile during his first season with PNB in 2022. This partnership with Macy is one that I look forward to watching in the future. Long limbed and full of emotion, these two melted into each other and portrayed such a deep connection.
On February 3rd, Macy stepped onstage as Odette/Odile, bringing audiences to a roar. There is always a different energy in the house during a debut. Everyone was on the edge of their seats, ready to see just what this dancer would be able to depart on the first go. What we received, managed to blow me away. I knew that she would be perfect for this role long before casting came out. I knew that she would find a way to imbue herself with the essence of these two vastly different characters, I just didn’t know how, or to what extent.
From the moment she leaped on stage, it was clear how well she understood the role of Odette. Her port de bra alone was cause for a standing ovation. The very first presenting of the wings wasn’t rushed or floppy, as it can easily become. Macy carefully presented her wing-like arms, each muscle of her arms so controlled and intentional as if she could still feel the feathers she had just shed. For a brief moment, the movement of her arm seemed achingly (and appropriately) jagged, as if the wings were getting caught as they transformed to human arms. This small detail showed an intentionality in the presentation of the arms as an important distinguisher between swan and maiden.
Her depiction of Odette had an anxious, broken, delicate air. Unlike other interpretations I have seen, her Odette did not seem immediately healed or consoled by Siegfried. It was clear she loved him, but she also knew the possible fate, and her worry never fully washed away. Due to the technicality of the role, some dancers tend to slip in and out of the character, occasionally forgetting the weight of the story they are carrying. Macy never forgot or wavered for a moment.
The end of act two broke my heart nearly as much as the end of act four. Watching her arms regain their wings, and watching her distress at the way her fingers began to flutter was haunting. Through every small gesture, every bit of energy flooding through each fingertip, she managed to convey just how painful this separation and transformation is. She seemed truly distraught as it began to overtake her and she had no choice but to be pulled away from her beloved Siegfried.
Elle Macy as a delightfully wicked Odile. LINDSAY THOMAS
I’ve always wondered how dancers manage to make the transition from Odette to Odile, and then back to Odette. Especially for someone so committed to not just performing the role, but becoming these famous characters.
After seeing Elle Macy as Myrtha in Giselle, and as Lady Capulet in Romeo and Juliet, I know how strikingly she manages to step into these darker roles that require a great amount of drama and emotional strength. From her very first step of Act 3, her Odile already owned the stage. Gone was the anxious solemness of Odette, replaced by a gleefully wicked grin and confident air. She beguiled Siegfried in every sense of the word. He fell for it of course, and she was delighted.
The infamous fouettes were cleanly executed, despite the fact that the audience started to clap and then fell away as if they were the exhausted ones. Clap people! Clap until your hands are red! But, what stood out to me the most in Act 3 was the moment of betrayal. As Prince Siegfried lifted his symbol of a promise into the air, a most wicked, brilliant grin grew electrically upon her face. It was as if she could hardly wait. Like a tiger waiting to pounce, her energy built until at last she could throw back her arms in a menacing laugh. Her eyes filled with a different quality during this scene, evil pouring out of her, no longer hindered by pretending to be Odette. Her swift exit left my heart already shattered before we reached the most painful part of the story.
Act 4 was greatly blurred by tears as the heartbroken Odette returned to the lake. No matter how many times I see Swan Lake, I am heartbroken each time these two share their last pas de deux. They clung to each other in a flood of frantic swans, and when the time had come, and she painfully peeled herself from his embrace, the devastated Odette placed the most gentle hand on his head. Macy clearly understood the weight of this gesture. There was purpose and emotion flooding through every one of her fingers. She didn’t just go through the motions. She brushed her hand with utmost care and lightness over him, as if her touch might scar him. And then, all too soon, that beautiful swan, overcome with emotion, bourréed away into the blue mist and with a few last swan wingings, was gone.
The audience began to roar before James Kirby Rogers had even run to his collapsing spot. All too soon, the curtain fell on this beautiful dream. What a grand achievement to witness. The audience could have clapped for much longer if the house lights hadn’t brought everyone back into the light of reality.
My very core felt bruised after feeling every inch of what these dancers poured into their performance. Those who saw her debut on February 3rd must have felt the same way, for her second performance was the first show of the run to sell out! The success of this run proved just how much people crave this well-preserved art that feels fresh enough to be a world premiere. I pray that PNB will bring Swan Lake back soon again and that next time, this couple will receive opening night, for they are certainly ready to be the face of this iconic tale!
Bravo!
Thank you for visiting Seattle Ballet! This blog is a love letter to the ballet community and I'm so glad to share it with you! You can find out more about Pacific Northwest Ballet at pnb.org and be sure to follow @seattleballet to stay up to date with all the dance happenings of Seattle!
Comments