Like universities and football clubs and world economies, ballet has its premiere league. The Bolshoi and Mariinsky jostle for the top slot, closely followed by our own Royal Ballet, the Paris Opera Ballet, and New York City Ballet, among one or two smaller gems. American Ballet Theatre was always in the club but if last night’s opening night is any thing to go by, it may no longer be deserved.

Last seen in London 20 years ago, the full company performed its Swan Lake, and both the dancing and acting were uneven. Swan Lake is the most famous ballet in the world and as well as being a story of a swan and a prince, it covers much more serious themes, like the promises we make and how easily we break them. It’s stating the obvious to say the steps aren’t enough, although they do have to be perfect. The dancers must also reveal their character’s dilemma so we can recognise our own.

ABT was a long way from this artistic transference. David Hallberg as Prince Siegfried came close, with clear lines and focused acting, although the chocolate box set was a constant distraction. Also good was Daniil Simkin as the Prince’s Friend, with airily elegant dancing spot on for his role. owever, Michele Wiles convinced nobody as the snowy Swan Queen Odette and her black-hearted rival Odile. She had neither Odette’s serene sorrow, nor Odile’s sexual allure, while the corps of swans lacked uniformity and precision, two essentials in classical dance.

This production by ABT’s artistic director Kevin McKenzie broadly follows the Petipa-Ivanov original, with some additions and tinkerings. This may be the mistake. With Swan Lake you want absolute classical purity or a radical reinvention. ABT does neither, which leaves the dancers and audience adrift.
Until 31 March. Le Corsaire, 2-4