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Tickets to see Mathew Bournes latest version of Swan Lake at the recently refurbished Theatre Royal Plymouth can things get any better?
Well yes, I think they probably can, the show last night had the feel of the start of a production run. That not withstanding it was still a spectacle to behold and the poster strap line ‘see it or regret it ‘is entirely true.
Eighteen years since conception, Matthew Bourne’s interpretation of the classical ballet Swan Lake is indelibly established as a contemporary dance classic. Often misconceived as having an all-male company – only the swans are all male the production continues to attract a wide-ranging audiences.
As always with a Bourne production the costumes are elaborate and the the sets and props imaginative and quirky and there is an intense attention to detail. Some of the lighting techniques were incredible and using the shadow imagery to increase and decrease the size of characters is genius.
If you are a traditionalist (and I fear I am) it is strange to hear guffaws of laughter from the normally silent crowd, but with the antics on stage it was no wonder there was laughter. Anjali Mehra dancing the role of the girlfriend had the audience on side from the start. Her character was enhanced by the perfect portrayal of the haughty and detached Queen danced by Michela Meazza.
The delicate and unfaltering traditional female corps de ballet is replaced with an engaging energetic bare-chested and bare-footed male ensemble in white feathery britches with black painted foreheads.
The Swan danced by Glenn Graham was predatory and dangerous at the same time as being both graceful and strong, he performed the role to perfection, elegantly leaping and meandering around the stage. This masculine, dominant animal transitioned beautifully from an entity of love into one of lust and yearning as The Swan’s alter-ego The Stranger.
By contrast Sam Archer’s interpretation of the central character, The Prince, a physically demanding role, lacked the emotion needed to provide impact and bring the character fully to life. The passionate pas de deux between Archer and Olivier redeeming his overall performance. Of equal disappointment was the lacklustre performance of the Private Secretary, played by Paul Smethurst.
Danced to Tchaikovsky’s celebrated score, the musical interpretation was faultless in parts.
At times it was spellbinding, moving and a joy to watch yet at others the stage seemed overcrowded and chaotic.
Would I recommend people go to see it – ABSOLUTELY, I think this has something for everyone.
