Alexei Ratmansky’s imagination is a 33 record played at the speed of a 78 — and in Technicolor. With all the maidens, magic, costumes and steps, his version of Stravinsky’s “Firebird,” which premiered Monday in New York, requires repeat visits to get all that’s going on.
The Russian-born choreographer uses the entire Stravinsky ballet instead of the shorter suite, and stays close to the original 1910 Ballets Russes story of a young man’s adventures with a magical Firebird and an evil sorcerer.
But this is no neatly packaged Disney tale: Ratmansky re-envisions the story in a childlike world where things are silly and dangerous at the same time.
The action takes place in a dark, smoky forest of huge tree trunks capped with blood-red buds. Our hero, Ivan, has been demoted. In 1910, he was a prince; now he just wears a sparkly white top.
A harem of maidens shuffles out under one hell of a spell. In huge disheveled green wigs, they look like underwater brides of Frankenstein. But the man they’re loopy for is the magician Kaschei.
Kaschei is comical as he twiddles his fingers, but don’t underestimate his power: One kiss, and you’re his — and a puff of smoke from his breath can turn a prince into a frog. Will the Firebird arrive in time to save Ivan and the maidens?
Once again, the plum role goes to the bad guy — here, David Hallberg’s Kaschei. His hair capped with sea-green highlights, Hallberg seemed to relish the chance to be something other than a blond god, which is what he played before intermission in a thoughtful performance of Balanchine’s “Apollo.”
Marcelo Gomes gave Ivan a human touch as he crossed himself before heading into the enchanted forest, but was overshadowed by Hallberg. It’s no fun being the hero. His chosen maiden, Simone Messmer, got a better deal. Ratmansky painted her as more than a stock damsel-in-distress when the lovers met in a dance full of steps, as if they were jabbering to cover up their nerves.
Despite Ratmansky’s attention to characterization, Natalia Osipova’s Firebird proved disappointing. There was little birdlike about her — she just jumped, turned and jumped some more.
“Firebird” returns next week, accompanied by another enchanted work, Ashton’s “The Dream.” Ratmansky’s ballets always look clearer at second glance; like hyperactive kids, they settle down with age.