By: Rosie Sharman-Ward
Sir Matthew Bourne’s 2024 revival of his epic Swan Lake is as close to perfection as anything I have seen. The original version burst onto an unsuspecting dance world 30 years ago, thrilling and outraging in equal measures. Male swans forsooth! Having seen it several times already, I await curtain up feeling very excited.
The swan starts to fly (if you know, you know) and quietens a packed house who are buzzing with excitement. Revealed is a sleeping Prince, dreaming uncomfortable dreams of a swan. As he struggles awake his retinue enter to prepare him for the day. A well oiled machine devoid of humanity but reeking of privilege. Bourne’s genius for concise storytelling soon shows us that while this Prince has everything, he is unworldly and painfully lonely. His mother, the Queen, has ice in her veins and no evident maternal feelings. She seems to be irritated by her son, seeing him as a rather poor escort for their royal duties. She is danced by a brilliantly chilly Nicole Kabera who encapsulates a beautiful woman who, adorned in gorgeous gowns, proceeds regally throughout the show, imperious and totally self absorbed. She is the consummate foil for the Prince’s naive and bemused personality. Stephen Murray totally compels as The Prince, his expressive face alive with all his emotions winning over the audience’s hearts completely. Many of us have tears in our eyes as he is driven to absolute despair and rushes away towards the lake.
The Swans, feral, hissing creatures are majestic and indifferent. From the moment the first coolly glides into the shimmering lake, our hearts beat faster. As they beat their wings and jab their beaks, they are no longer mere humans but creatures of wonder and beauty. The Swan, danced by Jackson Fisch, is a magnificent, powerful presence absolutely mesmerising our desolate Prince, and us! Fisch portrays a strong, wild being, suspicious yet tender and is also devasting as the arrogant, predatory Stranger who emanates sexuality, ruthlessly bewitching and discarding people.
Sir Matthew’s ability to engage his audience never fails. Alongside the heartrending storyline are many hilarious scenes. Bryony Wood dazzles as the Prince’s gauche, and unfortunate Girlfriend, and has us all laughing out loud pitted as she is against James Lovell‘s stuffy, officious Private Secretary. Bourne’s characters ever cleverly written and very human, his wicked sense of humour shines in this production. During the ensemble scenes just off from the main story there are many “asides” to be enjoyed. His choreography describes so succinctly a mood, a person or an emotion.
To say I was unprepared for the feast that unfolded before our eyes would be an understatement. Lez Brotherston’s memorable set and sumptuous costumes inspire awe and delight. Paule Constable’s lighting throws shadows and changes moods in a heartbeat. The new choreographic elements add subtle nuances, echoes of swans, cygnets that strut just a little more. All the while Tchaikovsky’s music soars above the whole.
I found myself enraptured and wondering what it must be like to dance or see this Swan Lake for the first time. Truly a production for a new generation and worthy of its very long standing ovation!