Review: SWAN LAKE, Sadler's Wells

Sir Peter Wright and Galina Samsova’s Swan Lake opens with the striking and sombre image of a funeral procession. Prince Siegfried’s head is bowed, and the Queen is inconsolable, signifying the death of the King. It’s an effective piece of additional storytelling not normally portrayed and sets the tone well for what is a theatrical and darkly atmospheric production. 

Birmingham Royal Ballet is a hugely exciting company to watch with a wealth of talent through its ranks. Unfortunately, I sensed some scrappiness on this opening night in London, where nerves and fatigue seemed to be at play in places. Despite this, the iconic white acts still made for a majestic sight, and touches of humour and character mean the storytelling is accessible and absorbing. 

I’ve never witnessed a more anguished Siegfried than Yasiel Hodelín’s Prince in Act One, it certainly is the most sombre of birthday parties. Hodelín, demure in black, cannot even feign interest in his proposed suitors, whose portraits are presented in lavishly gilded books. This is unacceptable to his mother, a sharp and brittle Daria Stanciulescu, who relished the drama of her role. 

As mentioned, things weren’t quite firing early on with Hodelín dialling up the emotion but ultimately appearing a little shaky in his first solo. In contrast, Riko Itu’s Benno bounced with boundless energy, his jumps suspended in midair, breezily executed. His feet beat together with faultless clarity. Together with Reina Fuchigami and Katherine Ochoa, the pas de trois was in good hands, the trio showing control and musicality.  

But soon enough we’re off to the lake and this is where things get interesting. Yu Kurihara’s Odette/Odile is one that will undoubtedly linger in the memory. A relatively new Principal, she has shone in the youthful roles of Aurora in The Sleeping Beauty and Cinderella but here amongst the complexities of the dual role, she is perhaps at her peak. Her Odette truly embodies the swan-like mannerisms, her arms and wrists angular throughout. Critically too, she matches the deeply felt emotions of Hodelín’s Siegfried. She is expressive, her wide eyes telling of her fear. Technically she is also strong, a dancer you can relax when watching. All the delicate balances and catches are never in doubt. Siegfried’s infatuation is clear too, his manner distinctly altered from the solemn figure of earlier. 

Elsewhere, the corps of swans provides all the necessary magic. There were a couple of stumbles, and the quartet of cygnets really dug in to admirably hold everything together for one of the most recognisable moments of Tchaikovsky’s score. Philip Prowse’s designs are also at their best here. I enjoyed the muted colour of the swan tutus in the corps, in contrast to the dazzling white of Odette meaning your eye is naturally drawn to her. 

Act Three moves to the ballroom and is suitably opulent but imposing with rich golds and reds to frame the action. The interplay between the princesses vying for Siegfried’s love is a nice touch, and Katherine Ochoa returns this time as a stylish Italian Princess alongside Rosanna Ely and Alisa Garkavenko as the Polish and Hungarian Princesses respectively. 

Kurihara enters, glittering and confident as the fiendish BLACK SWAN. Her Odile is similarly sublime, she shrugs off those slow pirouettes ending in attitude with ease, her core strength really allowing her to sail through it. When they arrive, her fouettes whip ferociously almost too fast; I counted well beyond thirty two and she just about controls it all. Hodelín has warmed up now too, demonstrating some of the power and sharpness in his jumps and jetés I have seen from him before. 

For our return to the lake we are greeted with the magical vision of a blanket of dry ice swept across the stage. As the mournful score starts up, the swans emerge from the mist to much audible appreciation from the audience. Odette and Siegfried reconcile and although the moment is high with tension, their chemistry as a couple sadly did not translate here. Jonathan Payn’s Rothbart is an imposing figure, but he is hampered by a particularly cumbersome headdress. 

A final note too on casting. Not for the first time, I noticed many of the ensemble taking on double and even triple roles throughout the night. I’ve not seen this done to such an extent by other companies and whether due to preference or necessity it would be interesting to see a broader use of the company for the supporting roles. Tour life is brutal however, and switching from swans to Czárdás can all be part of the challenge. 

Swan Lake runs until 31 October at Sadler's Wells 

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