"Black Swan" - by Jen Silverman and Dave Malloy - American Repertory Theater (Cambridge, MA.) - REVIEW
(Cover Photo: Melanie Moore as “Nina” in a moment from the new musical "BLACK SWAN" by Jen Silverman and Dave Malloy now playing at the American Repertory Theater in Cambridge, MA. through July 12, 2026. Photo Credit: Hawver and Hall)
By Kevin T. Baldwin
METRMAG Reviewer
# 774-242-6724
"A rough start, huh? Must have been pretty humiliating.”
- ("Lily") - Jen Silverman and Dave Malloy
American Repertory Theater
Presents the Musical
"BLACK SWAN"
A World-Premiere Musical Adaptation!
Book by Jen Silverman
Music, Lyrics, and Orchestrations by Dave Malloy
Based on the Searchlight Pictures Film “Black Swan,” Story by Andres Heinz
Directed and Choreographed by Sonya Tayeh
Music Supervision, Music Direction and Additional Arrangements by Or Matias
Cast Includes: Kyle Brown as “Ajay/Ensemble, Understudy for Jacques/Rothbart,” Jada Simone Clark as “Lily,” Karli Dinardo as “Glory/Ensemble, Understudy for Beth,” Mehry Eslaminia as “Understudy for Barbara, LeRoy,” Kate Jennings Grant as “Barbara,” Amber Iman as “LeRoy,” Caleb Marshall-Villarreal as “Dylan/Ensemble,” Johanna Moise as “Swing, Understudy for Lily,” Melanie Moore as “Nina,” Ava Noble as “Ensemble, understudy for Nina,” Ida Saki as “Doppel,” Thom Sesma as “Jacques/Rothbart,” Sarah Sigman as “Morgan/Ensemble,’ Chelsea Thedinga as “Ensemble, understudy for Doppel,” Tory Trowbridge as “Beth,” Valeria Yamin as “Ensemble, understudy for Nina.”
Ensemble - Gabriel Hyman, Charizma Lawrence, Adrian Lee, Martell Ruffin, Anthony Santos.
Swing - Alex Aquilino, Cameron Burke, Mia DeWeese.
Additional Creative Team:
Scenography - AMP featuring Marissa Todd; Costume Design - Shiona Turini; Lighting Design - Isabella Byrd; Sound Design - Kai Harada; Illusion Design - Chris Fisher, Skylar Fox; Hair & Wig Design - Mia Neal; Make-up Design - Sarah Cimino; Blood Design - Lillis Meeh; Casting DirectorC12 Casting, Stephen Kopel & Jillian Cimini; Fight and Intimacy Director - Rocío Mendez; Associate Director - Benita de Wit; Associate Choreographer - Camden Gonzales; Production Stage Manager - Genevieve Kersh; Dance Captain - Mia DeWeese; Assistant Dance Captain & Fight Captain - Cameron Burke; Stage Manager - Amy Marsico; Assistant Stage Manager - Elizabeth Emanuel; Assistant Stage Manager (Substitute) - Kendyl Trott.
Performances:
May 26, 2026 through July 12, 2026
(Contact Box Office for Exact Times)
The American Repertory Theater at Harvard University (A.R.T.) Loeb Drama Center, 64 Brattle Street, Cambridge, MA. 02138
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(Warning: The following review contains spoilers)
American Repertory Theater (A.R.T.) performs a creative grand jeté with their staged musical adaptation of the psychological thriller "BLACK SWAN" now playing in Cambridge.
Where it "lands" will have audiences either leaping out of their seats cheering or simply sitting there scratching their heads.
Guided by distinguished director and genius choreographer Sonya Tayeh, A.R.T.'s "BLACK SWAN" features a book by Guggenheim Fellow Jen Silverman and a score by Obie Award-winner Dave Malloy, blending the melodies of Tchaikovsky with a throbbing electronic soundscape.
Similar to the movie, this new, innovative stage adaptation of "BLACK SWAN" almost feels like an extended episode of the anthology series “Black Mirror” as it follows a haunted dancer losing her grip on reality while vying for the lead in Pyotr Ilyich Tchaikovsky's “Swan Lake.”
Undisputed, the A.R.T. production has some of the finest dancing seen this season, attributed to the phenomenal choreography by Tayeh, who also directed.
Tayeh's staging also contains some astonishing technical effects as it attempts to “mirror” (pun intended) the critically acclaimed 2010 film.
Every staged movement is focused, intent and impactful throughout.
However, similar to the A.R.T. story’s protagonist, "BLACK SWAN" conveys an overwhelming sensation that we are watching two shows, each one completely different in approach, yet simultaneously running in parallel to one another.
Both approaches are centered on ambitious ballet dancer Nina (Melanie Moore) who strives to rise from company ensemble dancer to lead of the “Swan Queen.”
Nina’s relationship with her fellow company dancers gives off a serious “Carrie” vibe, as if we are slowly watching Nina descend into a violent madness, advanced by her domineering mother, Barbara (Kate Jennings Grant but portrayed at the A.R.T. June 10th performance by Mehry Eslaminia), a former ballerina.
As this psychosis advances, there is a prevailing sense Nina just might go “full-on Carrie” at any moment.
As opening night approaches and pressure builds, boundaries blur and Nina spins out of control, heading into a haunting, psychological tailspin.
(Photo: Members of the Ensemble with Jada Simone Clark as “Lily” and Melanie Moore as “Nina” in a moment from the new musical "BLACK SWAN" by Jen Silverman and Dave Malloynow playing at the American Repertory Theater in Cambridge, MA. through July 12, 2026. Photo Credit: Hawver and Hall)
There is a dichotomy in the "BLACK SWAN" score by Malloy, which is where the sense of watching two shows is most prevalent.
While there are moments where the music is strong and propels the story forward, for example right from the Prologue and opening number “Morning Class,” the contemporary, pulsating electronic approach taken musically to advance the story is the singular direction Malloy should have maintained.
Instead, the rest of the score vacillates between the above and a secondary, almost operetta-style approach, with dialogue sung instead of spoken which serves to lessen the overall impact of the story.
The clever incorporation of Tchaikovsky elements for some ballet sequences proves visually effective, especially in the musical’s second act where Nina’s pursuit of perfection takes a grim and bizarre toll.
The ballet company has hired a new artistic director Margot LeRoy (Amber Iman) to take charge of the annual production.
Meanwhile, the company’s prima ballerina, Beth (Tory Trowbridge), has aged out and is forced – mostly by LeRoy - into retirement.
We later learn Beth is injured and hospitalized, but, even with the elevated performance by Trowbridge, it is not clear if this was by accident or attempted suicide (an ambiguity which may be intentional by the authors).
(Photo: Members of the Ensemble with Melanie Moore as “Nina” in a moment from the new musical "BLACK SWAN" by Jen Silverman and Dave Malloynow playing at the American Repertory Theater in Cambridge, MA. through July 12, 2026. Photo Credit: Hawver and Hall)
Iman is unrelenting as LeRoy, who seeks a new dancer for the roles of the innocent and fragile “White Swan,” (aka “Odette”) and the sensual and dark "BLACK SWAN" (aka “Odile”).
In the original story, Odette represents the tragic, pure White Swan, while Odile is the deceptive, seductive Black Swan.
LeRoy removes many plot elements central to the “Swan Lake” story scaling back to focus on just the contrasting personae and styles of the two swans, to present a more enlightened and empowered vision of the piece.
"The White Swan” dances with movement that is fluid, sorrowful and delicate, mimicking the motion of water.
Conversely, the dancing of the "BLACK SWAN" is more malevolent, with movements sharp, assured and even violent.
Nina auditions and is cast as the lead, but soon the pressures become overwhelming.
During rehearsals, LeRoy instructs Nina to observe her understudy, Lily (as fiercely portrayed by Jada Simone Clark).
Nina attempts to make friends with her castmates and Lily, which leads her to a fascinating odyssey.
Nina becomes exposed to hallucinatory drugs which seem to free her from her inhibitions while also releasing Nina’s inner demon (perhaps literally).
(Photo: Ida Saki as "Doppel" engages Melanie Moore as “Nina” in a moment from the new musical "BLACK SWAN" by Jen Silverman and Dave Malloy now playing at the American Repertory Theater in Cambridge, MA. through July 12, 2026. Photo Credit: Hawver and Hall)
Moving into the A.R.T. show’s second act, Melanie Moore gives a virtuoso performance as perfectionist Nina, unraveling under extreme psychological pressure.
Nina's mysterious injuries and visions become more severe, leading to chronic tardiness and concerns everyone in the company, especially LeRoy, who is feeling pressure from Jacques (Thom Sesma), her boss and representative of the interests of the ballet company’s board of directors.
Nina's descent into a mentally unstable abyss progresses as she begins hallucinating by finding scratch marks on her back.
Then again, alluding once more to an intentional ambiguity and the style of the aforementioned series “Black Mirror,” are these actually hallucinations Nina is experiencing or is she actually becoming this "BLACK SWAN" creature?
That ambiguity allows for multiple points of view and ongoing speculation, which is part of the appeal of the whole "BLACK SWAN" cult following that has emerged since the movie’s 2010 debut, mostly embraced for its exploration of psychological obsession, intense body horror and striking visuals.
(Photo: Members of the Ensemble in a moment from the new musical "BLACK SWAN" by Jen Silverman and Dave Malloy now playing at the American Repertory Theater in Cambridge, MA. through July 12, 2026. Photo Credit: Hawver and Hall)
Nina truly believes she is transforming into the "BLACK SWAN" which leads to some intense scenes where Nina confronts her “doppelgänger” – aka “Doppel” (Ida Saki) - the actual "BLACK SWAN."
The ending dance sequences of the A.R.T. musical are both mind-bending and mind-blowing.
That said overall, this is not a musical that will have widespread appeal, simply for the fact of how the source material upon which it is based, "BLACK SWAN" will most likely have a very limited, specific target audience.
There are very few characters with which we can identify or feel like rooting for as almost everyone involved is carrying some sort of self-absorbed baggage which ultimately takes the story on a downward spiral.
However, beyond these, how this A.R.T. story is told is simply storytelling at its best thanks to the incomparable concentrated staging and riveting choreography by Tayeh and those ardent fans of the original movie might embrace the musical adaptation of "BLACK SWAN" with equal fervor.
(Photo: Melanie Moore as “Nina” in a moment from the new musical "BLACK SWAN" by Jen Silverman and Dave Malloy now playing at the American Repertory Theater in Cambridge, MA. through July 12, 2026. Photo Credit: Hawver and Hall)
- Note - This production depicts characters experiencing mental health crises (including thought disorders, manic episodes, and visual and auditory hallucinations) and physical violence.
- It contains intense strobe, flashing lights, haze, fog, and loud noises.
- Recommended for ages 16+.
"BLACK SWAN" continues at A.R.T. until July 12th, 2026 and for those who want to see relentless dance choreography conveying an intensely powerful story, this is the musical to see.
Coming up next at A.R.T. will be Eugène Ionesco's "RHINOCEROUS" as translated by Derek Prouse, featuring Emmy Award-Winners Paul Giamatti, Tatiana Maslany and John Turturro, beginning August 12th and running through September 20th, 2026.
For tickets and more information, visit AmericanRepertoryTheater.org
Approximately two hours, 30 minutes with one intermission.
Kevin T. Baldwin is a member of the American Theatre Critics Association (ATCA)
@MetrmagReviews
@Theatre_Critics
ABOUT THE SHOW
THE AMERICAN REPERTORY THEATER (A.R.T.) at Harvard University's Loeb Drama Center will present "BLACK SWAN"
“Could she be the dancer in the mirror?”
Tony Award winner Sonya Tayeh ("Gatsby" at A.R.T., "Moulin Rouge! The Musical on Broadway") returns to the A.R.T. to bring a bold new musical adaptation of the 2010 Academy Award-nominated psychological thriller "BLACK SWAN" to life on stage.
As driven ballerina Nina fights for the lead role in "Swan Lake," pressure increases and boundaries blur, and she begins to unravel.
This haunting exploration of ambition, rivalry, and the cost of perfection features a book by Guggenheim Fellow Jen Silverman ("The Roommate," "Collective Rage: A Play in 5 Betties") and a score by Obie Award winner Dave Malloy ("Moby-Dick," "The Great Comet" and others at A.R.T.).
"BLACK SWAN" is presented by special arrangement with Buena Vista Theatrical.
ABOUT THE AMERICAN REPERTORY THEATER
MISSION
THE AMERICAN REPERTORY THEATER (A.R.T.) at Harvard University is dedicated to expanding the boundaries of theater, always including the audience as a partner.
VISION
We focus on the research and development of groundbreaking theatrical experiences that catalyze dialogue and transformation. We believe that by engaging our hearts, minds, and bodies, theater has the power to heal and imagine collective pathways forward. We commit to advancing public health in our practice and our programming, recognizing that racism in America is a national public health crisis. Our new home in Allston will be a breathable and healthy building envisioned as a town hall for the twenty-first century. Inspired by the model of a teaching hospital, the building will be a vibrant center for research, experiential pedagogy, and performance. We build community with our audiences, artists, students, staff, and neighbors across Greater Boston, embracing theater’s power to cultivate the full breadth and beauty of our shared humanity. We affirm and celebrate a multitude of perspectives and experiences that reflect the diversity of our country and world. We are dedicated to making a welcoming and accessible space for people of any identity, background, or ability.
VALUES
We hold the institution and each other responsible and accountable for living our shared values. There is no hierarchy to these values; they are all equally important and interrelated. We acknowledge that as an institution we must devote time to implementing and sustaining these values:
- We center anti-racism
- Habituate anti-racist practices in our policies, structure, and culture
- We lead with inquiry
- Ask questions in a spirit of brave curiosity in our never-ending journey of learning and growth
- We believe in collaboration
- Work together with trust and respect to unlock collective creativity
- We practice adaptability
- Challenge assumptions and create capacity to support “next” practices
- We embrace regenerative practice
- Promote the health and vitality of our planet, our organization, and each other
