Matthew Bourne’s Swan Lake at Sadler’s Wells
Never in the history of Tchaikovsky’s work has the physicality and muscularity of the swans been displayed as magnificently as in Matthew Bourne’s production. Premiering in London in 1995, the show caused quite an earthquake for its revolutionary gender swap of the traditionally gracious 40 female swans. That was indeed a radical interpretation that could have resulted only in two extremes: a misunderstood fiasco or a roaring success. Luckily, the second outcome became a reality, and from that moment on, the production didn’t just sell out, but moved from London West End to international tours, earning awards and crossing through cinema history for 3D filming and famous cameo in Billy Elliot. For the 30th anniversary of that remarkable opening act, Matthew Bourne and his company, New Adventures, embark on a celebratory UK tour, starting exactly where it all began: Sadler’s Wells.
The plot is loosely inspired by the common storyline for Swan Lake. A despotic Queen (Nicole Kabera), a woman incapable of motherly tenderness, leads the Prince (James Lovell) in his duties as a monarch. During their engagements in town, the young man falls in love with an inappropriate girlfriend (Katrina Lyndon), which immediately incurs the scorn of the royal court and particularly of the Queen mother. Disheartened and rejected, the prince runs away to the city park. Unexpectedly, a flock of swans arrives, pulling him into a swirling dance of vitality and freedom.
Every component – from the choreography to the costumes, the music arrangements to the casting – is detailed and crafted to make this work monumental, without apparent pretentiousness.
The 15 dancers faithfully reproduce the swan’s movements as per their animal behaviour: the twisting of their heads, the violent beaking, even coordinated hits of breathing, the aggregation in small groups while maintaining individual poses – everything conjures the powerful exercise of the male characters. The prowess consists in combining such natural mimicking with fluid ballet figures, for a hypnotic and outstanding flow.
In the second act, the succession of quartet arrangements follows, culminating in the incredible feat of the pas de deux of Lovell and Dowzell, reprised in the final act. The interconnection locked between the leads can be easily interpreted as carnal attraction of the same sex, which would well fit with a vague reprisal of the conventional plot. However, it would be a reductive reading to stick the translation of such enrapturing movements to one explanation only. In the exchanges, the touches, the glances, there’s the desire of affection, seeking protection and warmth, the enticement of communicating through body language. It’s Bourne’s impressive skill of conveying more than “simple” dialogues and unidirectional messages through artful choreography.
The blocky set design, edging on the caricatural side, especially for the scenes in the bedroom, goes hand in hand with the colour palette and the meticulous designs of the stage clothes (both departments under the guidance of Lez Brotherston Obe), whether in the simple white coats and Queen masks to the elegant gowns for the Royal Ball of the third Act.
Fierce and modern, this next generational chapter of Swan Lake is an entrancing coup of intensity and vision.
Cristiana Ferrauti
Photos: Johan Persson
Matthew Bourne’s Swan Lake is at Sadler’s Wells from 10th December 2024 until 26th January 2025. For further information or to book visit the theatre’s website here.
Watch the trailer for Matthew Bourne’s Swan Lake at Sadler’s Wells here:
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