Music: Pyotr Ilyich Tchaikovsky
Choreographer: David Dawson
Set Design: John Otto
Costume Design: Yumiko Takeshima
Originally scheduled for 2020, this revival of David Dawson’s 2016 work Swan Lake, heralds spring for Scottish Ballet.
Gone is the traditional villain Rothbart, gone are the lavish sets and gone are the feather-laden tutus. Dawson’s has eloquently and elegantly pared back the classical masterpiece to its essential story of first love and rooted it firmly in the present.
John Otto’s minimalistic set is simplicity personified, the palette muted shades of grey, the set dressing almost non-existent. Costume designer Yumiko Takeshima’s swan’s barely clad in white leotards with a suggestion of feathers embroidered on their torsos. The dancer’s movement is firmly front and centre.
Dawson’s choreography is wholly 21st Century, his neo-classical style is showcased to perfection here. It is athletic, powerful, the torso the epicentre of the swan’s movement. The arms stretch, swoop and soar like the elegant birds.
Principal Bruno Micchiardi (Siegfried) and guest principal Sophie Martin (returning triumphantly to the roles she originated with the company) are a match made in heaven, perfectly paired in artistry and elegance. Micchiardi’s lines are exquisite, flowing, lyrical. Martin is perfection, absolutely oozing star quality, she is magnetic. The stage enlivens the moment she steps upon it. She perfectly encapsulates the duality of her roles as Odette and Odile. Of particular note is soloist Thomas Edwards who breathes energy and joy into his role as Benno, sparkling throughout.
The male chorus’ synchronisation is excellent, making the most of Dawson’s strong lines and flowing shapes, less so is the female chorus, who come in to their own in act two but at times look less than drilled in the opening act.
Worth mentioning is the orchestra of Scottish Ballet who are at full strength here and the music soars through the auditorium throughout. This Swan Lake is absolutely a sum of all its parts. Perfect principals, sublime soloists, the perfect production design and Dawson’s muscular choreography combine to breathe fire into the new season at Scottish Ballet.
Runs until 6 April 2024 then touring | Images: Andy Ross
