Philadelphia Ballet shines in Angel Corella’s ‘Swan Lake’

The show must go on.

That’s what happened in the third act when Philadelphia Ballet opened Swan Lake, set to the classic Tchaikovsky score, on Thursday at the Academy of Music. Sterling Baca, as Prince Siegfried, was dancing his variation when his legs seemed not to be working as usual. He skipped or watered down some steps and stumbled at the end.

Ballet is live theater, so the drama of the story spilled into real life. Would Baca be back? Would another dancer replace him?

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Baca was not seriously injured, a representative from the company said. He had severe calf cramps in both legs.

So artistic director Angel Corella, who choreographed the piece, made a quick call. Baca could return to do his turns and to partner Sydney Dolan, who was dancing the dual role of Odette (the white swan) and Odile (the black swan).

In between, Zecheng Liang and Ashton Roxander, fellow principal dancers performing the roles of the Neapolitans, would dance the jumping parts of the coda. Both were familiar with the variation. Liang was scheduled to perform as Prince Siegfried on Friday night and Roxander during the Saturday matinee.

Once it was clear Baca was not seriously injured, this became a treat for audience members in the know. Seeing a quick fix in a ballet is like collecting rare stamps: It’s a performance to enjoy and remember.

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But even without the unexpected twist, it was a beautiful performance. Swan Lake is one of the most beloved ballets and it’s easy to see why. The corps de ballet is especially lush, presenting row after row of crisp costumes and even crisper lines of synchronized dancing.

Baca was a youthful but regal prince, not ready to settle down with the princesses from many lands his mother presented, but is sold when he sees the right one, Odette — who is, unfortunately, under a curse that renders her a swan by night. He is also easily fooled, and when the evil sorcerer Von Rothbart (Arian Molina Soca) sees that Odette, the white swan might leave the fold, he swaps her out with Odile, the black swan.

Dolan, who played the dual role of Odette and Odile, joined the second company, then called Pennsylvania Ballet II, at 15 and has grown more assured and lovely over the years. Her swan arms were liquid in the movements and her feet were beautifully arched. All of her movements were solid and believable.

She could work more on the acting in the Odile role, though. Her version is more a puppet of Von Rothbart rather than being evil or devious as some dancers present her. But her Odile should be distinctly different from the sweet, delicate Odette.

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There is much good dancing throughout the ballet and most of the principal dancers performed on opening night. A person less used to ballet might be confused by the number of divertissements, though, which are dances that break out of the narrative and do little to move the story along.

That said, if you’re willing to go with the flow, Corella’s Swan Lake makes the company shine and is a very enjoyable time at the theater.

Philadelphia Ballet in “Swan Lake.” Through March 16, Academy of Music. $25-$265.25. 215-893-1999 or ensembleartsphilly.org