Review by Raphael Kohn
⭐️⭐️⭐️⭐️⭐️
It’s every director or choreographer’s dream to make something as revolutionary and successful as Matthew Bourne’s Swan Lake – a show so distinguished, its title includes its creator’s name. Well, revolutionary for its time, at least. When it first premiered in 1995, its presentation of the ensemble of swans as a group of shirtless, muscular, and somewhat menacing men was an absolutely groundbreaking choice. After all, the swans are traditionally feminine, tutu-endowed and graceful. And yet, 30 years on from its premiere, there is something still so electric and stunning in Swan Lake that it feels revolutionary all over again.
In Bourne’s signature style, we’re treated to a mix of dance-theatre and full-on ballet to tell the story. Modified from the original, the homoeroticism is thrown in thick and heavy, with the glamourous, delicate, tutu-donning female swans of other productions replaced with menacing, muscular men. It’s this gender-swapping that makes Bourne’s production so famous, and it’s no wonder that they feature so heavily in all of the production materials.
Believe me, they deserve their place there. While the leads (on press night, Stephen Murray and Jackson Fisch respectively as The Prince and The Swan) are tremendous in their own rights, this is an ensemble piece through and through. The swans are tantalising in every moment they spend on stage, their grace in the dance matched to perfection by their heavy and athletic presence. Their choreography is angular, dynamic and sharp, metronomically synchronised and borderline aggressive at times. It all makes for a heart-pounding experience.
Meanwhile, there’s even some comedy thrown in, with Bryony Wood stealing every moment she spends on stage as the hilariously awkward girlfriend, completely unaware of social norms. It never reaches slapstick levels, but it works as a nice counterbalance to the otherwise serious tone of the piece. As the serious aspects go, they are most exhilarating and sensual during the more intimate moments, with The Prince and The Swan’s pas de deux shining as a real highlight.
But aside from his gender-swapping, Bourne’s not exactly working with new material – this is all taken from Tchaikovsky’s 1877 ballet. Thankfully, there’s only minor changes made to this legendary score, with tasteful and careful cuts made and the orchestration gently modified by Rowland Lee without detracting from the quality of the music. As is the case with all New Adventures (Bourne’s dance company) productions, there’s no live orchestra other than the London stops of the tours – a shame when such gorgeous music is canned into the speakers without live musicians under the stage pouring their heart into the score, but this is the way that New Adventures has always done it.
For all its reimagination, there’s still a beautiful balance at play here between the traditional and the revolutionary. Beautifully designed by Lez Brotherston, there are suits, dresses, and military uniforms aplenty, with stunning corseted dresses as well to wrap the dancers in. The act three ball, cloaked in glittering black outfits, is a particular highlight, glamourous and stunning throughout. It’s all contrasted beautifully by the relative nudity of the swans, their legs flowing with rugged and animalistic feathered shorts.
With all of this played out on Brotherston’s detailed and intricate set, it makes for sumptuous viewing indeed. In fact, it’s brought to life so lavishly that it’s hard to believe this is a touring production and not a static run. At times a cold, white-brick palace, and at other times a lakeside scene, Brotherston’s designs make for a perfect setting for the ballet, unobtrusive to the dance while still providing plenty of detail. It’s lit gorgeously by Paule Constable’s lighting, making the most of the silhouettes he casts on the white bricks and turning the thick ground fog into a luminous haze. It all works in beautiful synergy with Duncan McLean’s projections, with swans floating around the set in a flurry of lights.
It might be 30 years old, but it’s so fresh and lively that it could have been made yesterday. There’s a good reason indeed that this dance production earns its place as a cultural phenomenon. It’s a stunning gateway drug for the uninitiated and an irresistible trip for existing fans, making for an addictively exciting experience. No wonder this intoxicatingly homoerotic fever dream of a ballet has been making headlines for 30 years – it’s simply that spectacular.
Matthew Bourne’s Swan Lake is touring in the UK until 7th June 2025, then continuing abroad. Tickets for all dates from https://www.new-adventures.net/swan-lake#overview
Photos by Johan Persson