The Australian Ballet: Swan Lake -
State Theatre, Melbourne, 18 September -
After fifteen years the Australian Ballet (AB) has once again a ‘traditional’ version of that most iconic of ballets, Swan Lake, in its repertoire. It comes a full fifty years after the AB’s inaugural production, also Swan Lake, with the legendary Erik Bruhn and Sonia Arova. However, this is a traditional version as revisited by Stephen Baynes, so we are in for a few surprises. The Jester is out, Benno back in, there is a Nurse, the evil genius Rothbart only appears in Act III apart from brief cameos at the start and end, a Duchess and a Countess vie for the Prince’s affections in Act I … In fact Baynes has re-choreographed the Prologue, Acts I and IV, most of Act III (apart from the Black Swan pas de deux), and some of Act II. The mime has been largely cut as is quite common in present day versions, though this does make it more difficult to keep dramatic continuity going in the second Act in particular.
One of Stephen Baynes’s stated aims was to integrate the divertissements into the action, and the inclusion of the Spanish/Gypsy and Russian dancers in Baron von Rothbart’s entourage (done also by ENB amongst others) does contribute to the spell he casts over the court. Bursting in on the rather sombre ballroom in their rich purples and mauves they become instrumental to Rothbart’s seduction of both the Prince and the Queen. The Russian dance is a particular highlight, if not the highlight of the evening. Robyn Hendricks’s dancing in this was exquisite with just the right mixture of light and shade following the nuances of the music.
However, the Prologue is confusing. And the rivalry between the Duchess (Dana Stephensen) and the Countess (Lana Jones) for the Prince’s affections is made so prominent that the subplot was in danger of taking over from the main plot. The quick footwork and weaving arms of the ladies’ solos was a style particularly relished by Dana Stephensen who shone in her solo.
Brett Simon’s appearance as Rothbart in Act III made me regret his absence in Acts II and IV. Yes, the dark avian magician can become a figure of pantomime in the wrong hands, but Brett Simon could have pulled off that brooding Gothic presence and given an extra dimension both to Odette’s doomed enchantment and to Siegfried’s attempt at redemption.
I also missed the Jester although it was worth it to see Terese Power in the new role of Siegfried’s Nurse, giving a masterclass on stage in how to totally inhabit a role.
Overall though, the evening lacked was a sense of drama. There were plenty of beautiful dance moments but not enough of a sense of the story. One problem was the choreography which is often overly busy – more stillness and spaces between movements would create more opportunities for expression. A second was the lack of an emotional connection between the principals – Adam Bull and Amber Scott. A shame, as Adam Bull had the look of a danseur noble with his long lines and sustained turns, while Amber Scott undeniably possesses a special quality on stage – her dancing is marked by both elegance and a rare grace. Yet Adam Bull seemed unable to connect with his White Swan while Amber Scott’s Odette was strangely cool and emotionally disengaged, even if impeccably lovely. She could do with being less careful and surrendering to the passionate lyricism of the role. Her Odile was more successful as a characterisation as she set out to bedazzle the unfortunate Prince.
The set design, costumes and lighting were all of a piece, in harmony with each other. There was some effective use made of projections, while the moonlit rippling lake had the right mix of magic and mystery. But what this production needs is the injection of a bit more drama and a bit more punch.
- IRINA KUZMINSKY
Swan Lake closes in Melbourne Saturday 29 September.