Greater than that, the second was vital. Each the efficiency and shock promotion gave a wanted jolt to Ballet Theater’s summer season season, a sleepy one to date that has included the corporate premiere of Wayne McGregor’s ponderous three-act “Woolf Works,” and extra conventional repertoire: “Onegin” (with its melodrama and massive carry power) and “Swan Lake” (from 2000 and in want of an overhaul).
In “Swan Lake,” Misseldine, dancing with a powerful Aran Bell as Prince Siegfried, showered the stage with glittering dancing, first as Odette — a princess who has been changed into a swan by the evil sorcerer, von Rothbart — after which as Odile, his misleading daughter who tips Siegfried on the ball.
Dancers are inclined to shine in a single function or the opposite, however Misseldine, 22, was astonishing in each, giving her Odette a translucent splendor and her Odile a burst of daring and seduction — even some side-eye humor. At 5 toes 9 inches, Misseldine is all legs and arms, which she used, alongside together with her elegant fingers, to willowy impact. Her physique crammed out the music, spinning with jaw-dropping velocity and steadiness in supported pirouettes or angling to press softly into each final word.
Her means to alter dynamics, to shift from sluggish to quick, to indicate pathos and glee feels linked to how she makes use of music as a main supply of circulation. Generally it appears her dancing is fabricated from water; it shimmers with a type of lightness imbued with grandeur.
When Misseldine floats her arms upward, stretching from her fingertips to her toes, it’s not of this earth. When she unfurls a leg, stretching it excessive to the facet, the spaciousness of her dancing is what transports you, not simply her extension. But past her physicality is an entry to expression that appears drawn wholly from intuition, as if emanating from an unseen drive. Misseldine just isn’t into affectation. With unselfconscious glamour, she was a princess trapped in a swan’s physique: stretching, respiration, crying by means of her physique to flee.
