French for “a step for two,” the pas de deux has long been revered as one of the most intimate and expressive sequences of a ballet, where two dancers paint a visual dialogue through their interconnected movements. Traditionally, ballet partnering practices require the male dancer to take on a supportive role, providing the ballerina with a solid foundation to spotlight her impressive pointe work. But as ballet evolves, so too does the roles of the male dancer, transforming the dynamics of partnering in newer works. Soloist Patrick Frenette offers a fresh perspective on how his partnering roles vary across repertoires, as well as the deeper meaning behind these pairings.  

The Quiet Mastery of Male Partners in Classical Ballet 

In classical ballets like Swan Lake or Giselle, the adagio of the grand pas de deux, along with other duet choreography, is marked by a clear delineation of roles: the ballerina captivates the audience with her graceful, ethereal movements, while the male dancer delivers the strength and steadiness needed to execute each lift, turn, and landing with precision. The resulting illusion is that of the ballerina floating effortlessly, light as air.  

“A notable male partner in classical ballet should not detract from the ballerina’s lines and should strive to make every landing silent, every turn crisp and centered,” explains Frenette. He describes his role as a “pillar of stability and dependability” in classical partnering sequences, underscoring that the male dancer’s artistry lies in his ability to provide crucial support to elevate the ballerina’s performance, without overshadowing it. This delicate balance of strength and elegance between both dancers is what gives these passes their distinctive beauty.  

New Partnerships in Contemporary Ballet 

Contemporary works often require a more dynamic and fluid partnership. Modern choreography encourages both dancers to explore a wider range of expression, blurring the traditional boundaries of movement associated with male and female roles. 

Wayne McGregor’s Woolf Works exemplifies this evolution, featuring duets of various pairings. Frenette embodies this shift in Act II, “Becomings,” where he engages in a whirlwind sequence with Principal Dancer Chloe Misseldine, supporting her through acrobatic lifts and turns, only to find himself flipped upside down and stretched into bold positions in another duet with corps dancer Andrew Robare moments later. 

In similar contexts, the male dancer gains greater freedom of movement, with the connection between partners taking priority over the constraints of individual character roles. “The personal relationships we have with one another tend to transfer much more visibly through abstract works, where characters are loosely defined,” says Frenette. “Many times, in contemporary repertoire, who we are outside the studio and theater is on display for the audience.” 

Dancing Dialogues 

Cultivating the trust necessary for these intricate partnerships, whether in classical or contemporary ballet, starts with receptivity fostered through both verbal and non-verbal open communication. Building a relationship rooted in a mutual understanding of each dancer’s unique approaches to the choreography is crucial, as this foundational connection translates into a compelling emotional and physical synergy onstage.  

“With partnering sequences, there is a conversation between two parties: an action and a reaction, a statement and a response,” says Frenette, highlighting how these interactions add a natural layer of human dialogue to ballet. In contrast, solos only convey a singular emotion or perspective. The interplay of duets and solos throughout a ballet thus crafts a richly nuanced narrative, capturing individual expression and revealing how that expression is then deepened through the dynamic of partnership.  

For Frenette, it is sometimes those moments of stillness or pause that can often convey profound meaning between partners, enhancing the emotional connection visible to the audience. He describes a gesture from the pas de trois in Swan Lake, where, on the final musical note, he’ll gaze at his partner and gently tilt his head toward her after supporting her through a triple pirouette. “It’s a very touching gesture of affection I like to share with all the ballerinas I dance with,” he explains, “a way to say, ‘I’ve got you. We did that. Now, onto our variations!’” 

The writer, Jackeline Fernandes, was an ABT Press Intern for Summer 2024.