I was a bit sceptical about going to see this show I’ll admit. Having never seen a ballet before, and not knowing much about this particular one, I figured that the evening would be enjoyable enough but that it wouldn’t really capture my imagination. How wrong I was!
This interpretation of the story isn’t the same as the traditional sense. The piece is a mixture of contemporary dance with ballet, which in my opinion heightens the story – from the softness and elegance of the ballet, to the rush and the passion of the contemporary.
Swan Lake follows the story of a prince who longs for a more enjoyable existence than cutting ribbons and attending royal functions. In a dreamlike sequence he imagines what it would be like to fly with the swans he sees in a park, which starts his ascent into madness, which results in tragic consequences.
The production value is astonishing! The set is especially striking – it seems no expense has been spared on the wonderful royal hall, and the backdrop to an opera. The one thing I felt was missing however, was a live orchestra. I realise that with a full casts of 25, as well as accompanying stage managers, dressers, etc, that it would be impractical to tour with a full pit, however, during the more climactic scenes, when the music was reaching a crescendo, I did feel that it was such a shame that there was no live band – it would make the production more “real”.
The choreography is what this show is famous for, and boy it doesn’t disappoint. The dancing is flawless, and what is particular exceptional about it all, is that each cast member has their own routines – many hours have been spent in the rehearsal room, and it pays off!
The acting is also very good. Sam Archers shines in particular as the prince. One of the main differences between this version of Swan Lake and the traditional version is that the swans are played by an all male cast. This, I think, heightens the drama – it shows the sheer strength and the elegance of the animals.
It was obviously very risky 15 years ago to have two male principles dancing with each other and showing that two men can connect, but it was definitely worth it, because it adds a new dimension to a show, which I’ve not seen before in any show. The show has not aged, and is still as edgy now as it was when it opened in London 15 years ago.
May this be the beginning of a wonderful relationship between Matthew Bourne’s production company and Liverpool audiences.
Swanderful!!! 9/10
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