'Ocean's Kingdom'

What happens when a former Beatles front man, his vegan shoe designer daughter, and an ensemble of New York City Ballet’s brightest stars dive with abandon into a new work? A splash heard ‘round the dance community, for starters, but perhaps not as big a splash as expected.

New York City Ballet brought back its dynamic new work, “Ocean’s Kingdom,” for those who missed its premiere run last fall in the David H. Koch Theatre at Lincoln Center (20 Lincoln Center Plaza, at Columbus Avenue and 63rd Street). The production runs until Sunday, Jan. 29.

The 50-minute piece serves as Sir Paul McCartney’s first foray into original orchestral composing, as well as the first time his daughter, designer Stella McCartney, has produced costumes for dancers.

An exotic underwater kingdom serves as the setting for this tale of forbidden first love. Princess Honorata, played by the ethereal Sara Mearns, lives blissfully with her father, King Ocean (Christian Tworzyanski). Upon meeting the handsome Prince Stone (Robert Fairchild), who hails from the earthly kingdom, she falls head over heels for him—beautifully embodied by her sweeping arms and romantic twirls. Simply put, the production is “The Little Mermaid,” if Ariel wore pointe shoes.

Unfortunately, while the first four movements unfolded enjoyably, the story itself failed to arouse much concern for the lovers’ fate. Compared to the clean, classic Balanchine style, which has historically influenced NYCB’s repertoire, “Ocean’s Kingdom” drowned its potential in spectacle rather than substance.

The female dancers certainly looked glamorous in their diaphanous, seaweed-hued skirts and leotards, while the appropriately named “Terra Punks” reminded me of a rough-and-tumble “West Side Story” gang. Yet while a bit of whimsy and fun in classical ballet costuming is often welcomed, the rainbow headpieces and pin-striped suits donned by the “Drunken Lords” seemed out of place and overdone during the scene at the Hall of Dance—like five exclamation marks tacked onto the end of an artistic statement, as opposed to the one needed to make its point.

Similarly, the work took the notion of a “story ballet” to the extreme, with choreography that erred on the overly obvious side. Still, the light-as-air quality of Mearns and Fairchild in their graceful pas-de-deux partnering was marvelous. As a pair, they shared some stunning moments of chemistry that resonated long after the curtain closed. The presence of the acrobatic revelers, full of exuberant energy and lively leaps, nevertheless distracted from the budding relationship during the grand ball scene. However, Martins seemed to put more weight and focus into choreographing to complement McCartney’s riveting musical arrangements, rather than attempting to create the next masterpiece for the American dance canon.

Despite its underwhelming plot, the true beauty of “Ocean’s Kingdom” exists in its fresh perspectives, thanks to McCartney’s musical contribution that left the audience enthralled. Should NYCB continue to venture into uncharted waters by enlisting dance world newcomers, it will undobutedly prove a wise move—not only for their company, but for classical ballet in the 21st century.