American Ballet Theatre’s principal dancer Marcelo Gomes, with his good looks, gentle manners and generous spirit, is the embodiment of a Romantic hero. In many ways, he is the ideal Prince Charming of classical ballet: handsome, sweet and kind. In the course of his 18-year career with the company, Gomes has danced scores of princely roles, covering most of the romantic and classical repertory from Albrecht to Siegfried and beyond. Yet the Brazilian-born dancer knows what it takes (and how it feels) to be an anti-hero in dance—particularly in modern dance—portraying, most fascinatingly, The Moor in Jose Limon’s “The Moor’s Pavane” and the Young Man from the House Opposite in Antony Tudor’s “Pillar of Fire.” He also experienced Kevin McKenzie’s “Swan Lake” and Alexei Ratmansky’s “The Sleeping Beauty” from a “baddie” perspective, having danced the malevolent magician Rothbart and the wicked witch Carabosse, the villains of these two ballets, to wide acclaim.
Marcelo Gomes as Death in Kurt Jooss' “The Green Table.” Photograph by Marty Sohl