Her swoops into penché were bold, fearless, like a dive to the bottom of the lake. Instead of being embraced by Siegfried, it was she who took his hand and wrapped it around herself. The interpretation was both piercing and lacking in any kind of exaggeration. It just unfolded. Partnering her impeccably, James Whiteside could only watch, with wonder, the marvel unfolding before him with the rest of us. 

 Whiteside, returning from an almost career-ending injury, is dancing well, if not with the same force as before the accident. (In 2021, his knee gave out onstage, leading to major surgery.) He is a highly polished dancer who leaves nothing to chance. He comes down from his double tours in a neat fifth position and a deep plié, turns well, and leaps in graceful arcs through the air. But he is understandably still a bit cautious. His acting on this occasion was subdued—he tended to disappear next to Hurlin. 

By contrast, Camargo, who danced with Boylston, is an extremely eloquent performer. He creates shadings. His prince is youthful and sunny, but lonely. He was charmed by the ladies of the court, and seemed happy to dance with them, but then lost his nerve. Then, in a moment of vulnerability, he launched into a heartbreaking soliloquy, full of aching renversés and arabesques. Camargo’s phrasing is lilting and soft-edged; he plays with the transitions, creating a feeling of tension and release that suggests poetry. Like Whiteside, he is a fantastic partner. He barely touched Boylston in the lakeside pas de deux, giving her the space to move, while creating a kind of aura of love around her. The feeling between them was almost voluptuous, like a river overflowing its banks. So much love; so much wonder.

And so much potential. American Ballet Theatre is bursting with talent at the moment. The excitement is there, just within reach. Imagine how much more intense it could be if they had a truly great “Swan Lake.”