Swan Lake

Swan Lake is a dazzling jewel in the Australian Ballet’s repertoire and the culmination of their sixtieth year of being Australia’s premiere national ballet company!

I still have vivid memories of the famous production starring Marilyn Rowe as Odette and Lucette Aldous as Odile and thought I would never see a production so full of exquisite dancing, life and emotion, until now.

The choreography for this new production is based on the 1977 production by then artistic director Anne Woolliams (after Marius Petipa). There is additional choreography from Ray Powell, new additional choreography from Lucas Jervies, coaching from 1977 opening night Odette/Odile Marilyn Rowe, and direction from current artistic director David Hallberg. 

Hallberg has returned to Ann Woolliams's production when she was still artistic director of the company. While the production has deep connections to the past, it also lights a path for an exciting future.

The main changes to the traditional settings are to the famous second and fourth acts. While the first and third act retain conventional built set design, the famous "white" acts are inspired by modern design, using projected light and simple, abstract forms.

The back wall is almost entirely black, but with a hint of a sinister peaked shape which could be a mountain or even Rothbart’s dwelling. When the curtain rises in Act 4 on the V of white swans arranged on the stage, the effect is breathtaking.

Linking the whole ballet is a scrim on which a huge swan wing is projected: as if the whole ballet is protected by its serene presence.

Daniel Ostling’s Act 1 palace gardens and Act 3 Baroque ballroom are stunning in design and execution, sensitively lit by T.J. Gerckens, particularly the moody, ethereal Acts 2 and 4.

Mara Blumenfeld’s costumes are a highlight of this production; the earthy palette of the peasant’s costumes, the opulent silks and satins of the nobility and the glittering tutus of the swans. Von Rothbart’s costume for Act 3 with its slimy oiliness is a highlight.

The Adelaide Symphony orchestra, led by conductor Jonathan Lo, breathes new life into the immortal score  by Piotr Ilyich Tchaikovsky. Special mention should be made of the string, woodwind sections and the impressive harp solos.

Benedicte Bernet totally embodies the tragic Odette, fluttering, helpless, wanting to love a human but wary of her protector von Rothbart, particularly in Act 4 when her life and that of Prince Sigfried are on the line. It is rare to see a dancer who is also an accomplished actress, I really believed her pleas to let Siegfried live. Her ‘come and get me if you dare’ facial expressions as Odile in Act 3 are perfect as is the famous unsupported arabesque and solo in the Grand Pas de Deux.

Joseph Caley brings strength to the role of Prince Sigfried. He is a true danseur noble and excels in his variations during the Grand pas de Deux in Act 3. His partnering with Bernet is particularly sympathetic while still being a dynamic presence in his own right.

Joseph Romancewicz adds an atmosphere of ominous evil to the role of von Rothbart, always lurking in the shadows ready to sweep in to protect his prize swan. There is a certain air of Count Dracula in Acts 2 and 4 and even a touch of Lord Voldemort himself in Act 3.

Rachel Rawlins gives the Queen Mother grace and dignity. Her warning to Prince Siegfried not to marry Odile is prophetic and well handled.

Marcus Morelli’s jester is full of fun, but more importantly full of technique. The role is traditionally a crowd pleaser and Morelli did not disappoint. His use of the set in  Act 1 is impressive.

The Pas de Six – Rina Nemoto, Jill Ogai, Mason Lovegrove, Nathan Brook, Yuumi Yamada and Aya Watanabe, all impressive dancers in their own right, work collaboratively as one unit with impressive technique.

The corps de ballet is the backbone of any ballet company. It was a joy to see such precision and dedication to the peasants, nobility and guests of the ball.

Of course, as an audience we all wait for the swans in Act 2 where the attention is on the beautiful, ingenious choreography, emphasising the architecture of the groups of swans, and the abstract patterns of the lines of bodies and arms.

The swans are a joy to watch, capably led with noble by Lead Swans Valerie Tereshchenko and Rina Nemoto. The disciplined cohesion of the corps means that the swans are constantly seen to breathe as one. 

Swan Lake is more than a pleasure to watch, it is a privilege,  and compulsory viewing for those who are new to ballet or old hands like me!

Barry Hill OAM

Photographer: Kate Longley