Mathew Bourne is the choreographer of many imaginative new versions of classical ballets, such as ‘The Car Man’ (‘Carmen’), ‘Highland Fling’ (‘La Sylphide’ set in a Glasgow Housing Project),‘Cinderella’ (set in London during WW2) and ‘Nutcracker!’ (set in a Dickensian orphanage). He has also choreographed for musicals such as ‘Mary Poppins’ (now playing on Broadway) and recently created ‘Play Without Words’, a dance version of Pinter’s ‘The Servant’. He is best known for his unique version of ‘Swan Lake’, with its cast of male rather than female swans, which is presently touring Australia.
Where were you born?
Walthamstow, East London.
What was your family like?
I have one brother who works in a bank. Mum worked for the local council and dad worked for the water board. My parents, while not working in the arts, were huge theatre and film fans, who always encouraged me to see things.
What was your first public performance?
I sang ‘Climb every mountain’, from The Sound of Music, in the church choir as a solo when I was about eleven.
Where were you educated and what did you study?
I went to primary and secondary comprehensive schools in East London, which were pretty rough. I did English and art A Levels.
You started dance at the late age at the Laban Centre at the age of 22. What made you take it up?
By the time I started to enjoy dance that wasn’t in films of musicals, I thought I was too old to be a dancer. However, the Laban Centre wasn’t getting enough applications from young men, so even though I was a bit older, they said yes. I was also very keen on choreography, which I think helped – I didn’t just want to dance.
Do you think your late start has been an advantage or disadvantage?
A big advantage. I had been able to do so many other things by the time I started to dance and choreograph that I had a much
wider sphere of influence. I was into film, the theatre, opera – you name it – and all of those things fed my work with ideas.
As a choreographer, who has been your greatest influence?
Too many to mention – Fred Astaire, Ashton, Busby Berkeley . . .
You founded Adventures in Motion Pictures (now New Adventures) two years after graduating, in 1987. Why does it have that name?
The name was dreamed up because each new show is a new adventure and motion pictures was there because it is a perfect way to
describe dance.
What inspired you to create your male version of Swan Lake?
Well, firstly it is not all male – just the swans. We have plenty of women in the cast, too! But the idea of male swans came from watching real swans in St James’ Park, London, where I was struck by how big, strong and aggressive these birds were – nothing like the delicate female ballerinas that we are used to. I decided then and there that my Swan Lake would have male swans.
Your versions of the classics often dispense with the fairytale settings. Why?
Well, the second act of my ‘Nutcracker!’ is very much in fairytale land. But I’m always looking for ways to bring the story to life, and if by changing some of the traditional setting of a piece I can make it more relevant and meaningful, then that’s what I try to do.
Your ballets require strong acting skills. How do you get such good dancer/actors?
I’m lucky to work with performers who do havestrong acting and dancing skills. We work very hard at finding new performers to join the company, but I also try hard to hang on to good ones when I find them. Some of the company have been working with me for many,
many years! I also learnt a lot about directing acting through working with great directors in musical theatre.
What place does music have for you in choreography?
It is central, along with the story. I take most of my inspiration from the music – it drives the story, emotionally and in terms of plot, so for me it is very important.
What is the worst mistake a choreographer can make?
Making the work for themselves and not for the audience.
What is the most magic thing you’ve ever seen on stage?
Seeing A Chorus Line at the age of 16 was very exciting and influential.
What occupation or activity would be furthest from your true nature?
An executioner.
