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There have been many productions of this masterwork; indeed, McFall’s choreography and staging were listed in program notes as “adapted from earlier versions.” Although scenes from other classics were invoked, such as in Act II where Atlanta’s swans majestically mimicked the solemn serenity of Wili maidens, and in other scenes, where the relationship between Odette and Siegried seems as star cast as that of Romeo and Juliet, the work lacked cohesion.

Whereas I anticipated that the choreography, coupled with costume and set designs by Jose Varona would frame the unlimited technical ranges of company dancers; I also anticipated the whole would render homage to the archetype conceived in the Petipa/Ivanov original. Instead, McFall conceives an opening scene dominated by two figures: a Von Rothbart -Svengali performed by Jonah Hooper, who awakens a primal princess, an envisioned Odette performed by Christine Winkler. Surreal images depict a villain who casts spells on young maidens who in turn metamorphosize into swans. As images unfold behind a stage scrim, moments of psychological probing foreground yet fail to enhance the major motif conceived by Petipa/Ivanov.

More than once, individual performances by company soloists saved the evening. Foremost were those of Christian Clark as Seigfried and of Brian Wallenberg as Benno. The conception of Seigfried as youthful suitor dominated Act I as did playful jousting scenes, evoking youthful folly. Nevertheless, the core infatuation of Seigfried to swan maiden is lost in a maze, albeit spectacular, of male group variations.

As Odette, Christine Winkler sensuously performed pas de deux with Clark as Siegfried, drawing applause that mirrored joyous events. Her superb technique lyrically expressed through turns, arabesques, and extensions, framed the unattainability of love, yet McFall’s conception of Seigfried as suitor failed to suggest or anticipate the depth of their relationship until far too late in the ballet. Doubly cast as Odile, Kristine Necessary performed flawlessly, yet portrayed an Odile more seductive than wicked. Although the audience knows that Odette is not Odile, symbolic meanings were blurred.

I have seen many majestic Swan Lakes; whereas McFall’s version does succeed in its desire to get to the psychological heart of enchantment and transformation, its connection with the work’s major motif is blurred. Does Von Rothbart cast a spell on Seigfried as well? Do Odette and Seigfried truly fall in love? Of soloists, Clark is the dancer best able to handle all plot elements; his effortless classical line is buttressed by confidence and projection, and supported by an even-toned corps de ballet. To enter the world of Atlanta’s Swan Lake is to enter one where too many interpretations seem available through a swan kingdom conceived as a world of eerie psychological invention. Its invitation to multiple layers of interpretation sometimes perplexes the viewer, an obstacle not needed in viewing a classical performance.