The conversation as we left the theatre was dominated by, ‘I can’t believe women would usually play the swans!’. I am a great admirer of female dancers, but swans are certainly male entities. The aggression and intensity of male dancers, combined with the grace of ballet, captured the dominant and often hostile nature of the swan more elegantly than even in the original. Tchaikovsky’s soundtrack was as moving as always, however I do wish that there had been a live orchestra. Nothing compares to live music at the ballet, and this production would definitely do it justice.
I’d like to begin with immense praise for Lez Brotherston’s set and costume design. Swan Lake was an utter feast for the eyes, dominated by mammoth, intricate sets, the diversity of which truly transported you into the story. Not only did each set transform the entire stage, but they were all created with such ingenuity that every scene change was entirely seamless. From the grand pillars of the Prince’s bedchamber, to a dingy backstreet club, to an entire theatre-within-a-theatre on stage, it was truly a feat of creativity and engineering.
And the costumes! The materials used were clearly quality, even from within the audience, and every garment hung beautifully upon the performers. I particularly loved the 50s silhouettes of the women’s dresses, emphasised with shimmering cloth and layers of petticoats that made each twirl a work of art. Diamonds and sparkles adorning the royals absolutely dazzled beneath the stage lights. And, of course, the iconic swan trousers perfectly mimic the texture of downy feathers, the elegant waistline a nod to the natural form of the majestic birds.
A character who really stood out to me was Bryony Wood as ‘The Girlfriend’. With the appearance of Barbie and a storyline similar to that of Pretty Woman, Wood cracked the audience up with her fabulous physical comedy and silly, girlish nature. How she managed to simultaneously play up her irreverent, flirtatious character, whilst still performing faultless ballet, displays tremendous talent. During the scene at the opera, she had the audience in stitches as she loudly scraped her chair across the floor and picked up a facetime in the middle of a dance number. Wood’s character perfectly illustrates the genius of Bourne’s contemporary twist, and how seamlessly it blends with the timelessness of Swan Lake.
The swans, of course, were the stars of the show. Imposing and breathtakingly elegant, the characters absolutely dominated the stage during their every scene. Rolling neck movements and hissing sounds further enhanced the zoomorphic display – it was truly a sight to behold. The lead Swan/the Stranger was utterly astounding, both in himself, and in his raw chemistry with the Prince. His character fluctuated between one of beautiful wildness, and one of more human sensuality and power. His role as the Swan was unmistakably emotional and conflicted but, as the Stranger, there was a coldness, which served to easily distinguish his two faces. Between himself and the Prince was a breathtaking, platonic intimacy, which grew steadily throughout the performance. Their physicality with one another was violently tender, right up to the final, heartbreaking scene – a confirmation of the depth of their relationship.
This production was a sensory delight from start to finish. Paule Constable’s creative lighting was truly the backbone of the visual drama, perfectly complementing Brotherston’s costumes and set, and playing deftly with the shadows on stage. The quality of dance throughout was first class, and stunningly preserved the essence of Swan Lake, whilst equally gifting the production that cheeky, modern kick that has become so iconic to Matthew Bourne.
Matthew Bourne’s Swan Lake will be running in the Sheffield Lyceum Theatre from Tuesday 13th-Saturday 17th May. Don’t miss out on a positively enthralling evening.
Rating: ★★★★★
