Birmingham Royal Ballet: Swan Lake at Sadler’s Wells

The first act of Swan Lake at Sadler’s Wells opens on a sombre scene: a large coffin draped in black and topped with a crown, followed by a funeral procession. The King has died, leaving his moody son, Prince Siegfried (Yasiel Hodelin), next in line to the throne. His friend Benno (Riku Ito) attempts to lift his spirits with wine, friends and two graceful courtesans. But when the Queen Mother (Daria Stajciulescu) reminds Siegfried that it is time to choose a wife, his melancholy deepens. Benno suggests a swan hunt to cheer him up.

The costumes and set design are outstanding from the outset and are a real highlight of the show. Long cloaks, fur hats and huge staffs transport the audience to medieval Russia; there is an Elizabethan touch to the courtiers’ outfits and the costume choices never cease to amaze.

The royal court gives way to an eerie lakeside setting, with the spidery outline of a barren tree on one side and steps leading through a gate to the water on the other. A combination of lighting and set design creates the effective illusion of the lake. Accompanied by a live orchestra featuring harps, violins and oboes, Pyotr Ilyich Tchaikovsky’s poignant score creates a pensive, heart-aching mood.

This version of Swan Lake really encapsulates what one might imagine when they hear the word “ballet”. It is a traditional take and based on older choreography, and the first act does feel a little devoid of energy. It feels like it lasts a long time, and perhaps longer than it should.

Things improve when the stage transforms into the murky, mystical waters of Swan Lake, where the prince meets Baron von Rothbart (Jonathan Payn), Odette (Yu Kurihara) and the other swans. Odette is a princess cursed by Rothbart to live as a swan for most of the day. The dancers really embody the swans here, and Kurihara does a wonderful job of showcasing her character’s intense vulnerability.

The energy lacking in the first act picks up considerably in the third, which is set at the court where Siegfried is presented with three princesses seeking his hand in marriage. The arrival of Odile (Yu Kurihara), Odette’s dark counterpart, brings fresh life to the stage. Payn’s performance at the lake lacked energy, but he really comes into his own at the court, and he and Kurihara have excellent chemistry.

Kurihara excels in contrasting the two characters. As Odette, her movements are fragile, fluttering, and feather-light, conveying vulnerability and painful longing. As Odile, she is confident and precise, using sharp angles and a series of physical feats to entice both the Prince and the audience. She transforms the stage, and one may find oneself inadvertently rooting for her.

The set design and costumes are among the production’s greatest strengths, while the performance itself drags a little and builds up momentum through the night. Swan Lake may feel somewhat inaccessible to newcomers to ballet, but it also offers a glimpse of what this classic might have looked like in the past.

Sophia Moss
Photos: Courtesy of Birmingham Royal Ballet

Birmingham Royal Ballet: Swan Lake is at Sadler’s Wells from 28^th until 31^st October 2026. For further information or to book, visit the theatre’s website here.

Watch the trailer for Birmingham Royal Ballet: Swan Lake at Sadler’s Wells here: