'Black Swan' musical is stunning portrayal of desire

Nina wants to be a star.

But the allure of the  stage and the pressure from her overbearing mom make her unravel. The ballerina is pushed over the edge after landing the dual lead role in “Swan Lake.” Soon, she can’t tell what’s real and what isn’t in the American Repertory Theater’s exquisitely chilling world premiere musical “Black Swan.”

Running through July 12, the show is based on the 2010 film of the same name starring Mila Kunis and Natalie Portman. Portman portrays Nina, a dancer with perfect technique who can’t let loose, while Kunis is her perceived rival Lily, who embodies all the passion and raw energy Nina lacks.

The same is true for this Nina, portrayed by a lovely Melanie Moore, in the stage version of “Black Swan,” with a book by Jen Silverman. Music, lyrics and orchestration are by composer Dave Malloy with additional orchestrations, music supervision and music direction from Or Matias. The key difference with this version of the psychological thriller is that it’s set to music. And it’s still every bit as dark as the film.

The multitalented ensemble dances and sings their way through the narrative’s twists and turns with muscular flair, particularly Jada Simone Clark as Lily. And the cast and creative team, including scenography by AMP featuring Marissa Todd, lighting designer Isabella Byrd, sound designer Kai Harada, all work together to immerse audiences into the rehearsal room, a fundraising gala and a dance club where the dancers get a chance to unwind.

But there’s also quite a bit of magic-making — courtesy of illusion designers Chris Fisher and Skylar Fox — onstage. Mirrors show the manifestation of Nina’s inner darkness. A hand appears to push through Nina’s body like a person possessed, while other disembodied hands ravage Nina after a substance-fueled night out. There’s even a red-hued Nutcracker-themed nightmare. The environments created, along with the choreography, really boost the story.

There’s a scene where Nina and Lily leave the nightclub’s sticker-covered bar for the roof where a big moon lights the night as romantic tension brews between them. Nina and Lily’s time together is absorbing, with lithe movements, stunningly rendered by fight and intimacy director Rocío Mendez and the show’s director and choreographer Sonya Tayeh.

The dancing is gorgeous, and also at times surprisingly fun. For instance, the ensemble, clad in fabulous gowns by costume designer Shiona Turini, seems to pulse more than dance together; giddy with excitement at the fundraising gala while singing “give us money, give us money.” Another time, the group sways slowly like a wave in the rehearsal room as the powerful and headstrong Margaux LeRoy, portrayed by Amber Iman, conducts long rehearsals. Iman’s LeRoy is a commanding presence with her rich mezzo-soprano, and she cares deeply about Nina and roots for her success.

In the meantime, Nina’s mom, Barbara—portrayed by talented understudy Mehry Eslaminia the night I attended — is the perfect dance mom. Barbara was herself a ballerina, overlapping at school with LeRoy, but she surrendered her dreams to be a mom. It makes her ruthless, urging Nina to push herself further and harder. “You could be a star,” she sings in Nina’s ear, as she demands even more discipline of Nina.

Tayeh’s direction and the work of the entire cast and creative team make this a frightening and moody fever dream. At the same time, the show glistens with the hope and possibility of a young dancer aiming for the stars. Even if it’s only for a moment. It’s a cautionary tale where desire and dread dance together, as the audience cheers for Nina to finally soar.

“Black Swan” runs through July 12 at the Loeb Drama Center in Cambridge.