Sir Matthew Bourne OBE
New Adventures
Lowry, Salford
November 19-30, 2024; 2hrs 25 mins (ages 5+)
(also Liverpool Empire, February 25-March 1; Newcastle Theatre Royal, March 25-April 5; Alhambra Bradford, May 6-10; Lyceum Sheffield, May 13-17)
If you have been lucky enough to see a wedge of swans as they pass over your head, you will remember the grace and beauty, but perhaps most of all the sheer power of the event. Which brings me nicely to the 30th anniversary production of Swan Lake by choreographer and director Mathew Bourne.
On first viewing of this production you will be amazed by the simple device of having 14 substantial men as the swans. Led here by the astonishing dancing of Jackson Fisch, this ensemble can be mesmerising, sexual and violent - sometimes all at the same time. Though its only a relatively small part of the production, the vision stays with you. The lead swan throwing the prince into the air demonstrates very effectively the change in the dynamics of the roles.
The costume designer (originally Lez Brotherston, currently Diane Williams), who developed the swans' look, was clearly a genius, making sense of the concept of ornithophilia (being a bird-fancier in, shall we say, a less-acceptable way).
On second viewing, you become aware of the brilliant staging and subtle mix of humour, classical dance and spectacle - such as the way in which Bourne brings together his pastiche of older forms of dance with an audience made up of the traditional aristocracy and the new pushy groups, to make fun of both.
His ice queen (Ashley Shaw), would freeze to icicles even the warmest hearts. She brings a glacial quality to her selection of the fittest paramour. His floozy (Bryony Wood) brings a touch of the Blessed Diana to her performance of a woman seeking riches with the passion of someone scarfing a bag of popcorn in a cinema.
For those audience members with a love of classical ballet there is plenty of traditional dance from
far-off places, all held together by the quality of the ensemble and the pure lines of the design. The first scene at the palace captures the ennui of being as rich as Croesus by the simple means of getting the prince, Stephen Murray, to use his servants as the steps down from his king-sized bed. Coupled to the ensemble providing not just his breakfast but also dressing him and cleaning his every pore, the production captures the (apparently) slightly sleazy way of life of the extremely rich.
The music can be a little loud, but Tchaikovsky is not noted for his piano moments.
Though it's 30 years (next year) since the first production, this Swan Lake still has the power to shock and awe. So go and be impressed, or impressed again, by its power.
More info and tickets here
