Review: SWAN LAKE, State Ballet of Georgia, London Coliseum

After their appearance at the London Coliseum in 2024, the State Ballet of Georgia return to the capital with a brand new version of Swan Lake. The Tbilisi-based company’s draw is its artistic director, the venerated ballerina Nina Ananiashvili, who performed in the Bolshoi and American Ballet Company and who has done fine things with this talented company. 

The 2024 production was solid, with elegant performances, but lacked some of the fire required for the ballet to really soar. This new production also shows the same technical prowess from the dancers in a very traditional setting, but as the principals dance the same roles, the chemistry remains somewhat lacking.

Nino Samadashvili returns from the 2024 production to the dual role of Odette/Odile, as does Oleg Ligai as Prince Siegfried. Samadashvili is a beautiful dancer, imbued with elegance down to the tips of her perfectly delicate fingers, although showed some foot misplacement at times on press night. She has a lightness in her port de bras, but also stamina and strength, demonstrated by some impressive fouettés. Her nervily anxious Odette moves well to a sneering, confident Odile.

Legai shows impressive lightness in his jumping, particularly notable due to his height. His depiction of Siegfried is a little too wet to convince as Odette's hero at the end of the show. The main issue is credible chemistry between the pair, which is functional at best. It's a shame, as they are good dancers individually who should sparkle when together.

Marcelo Soares also returns as Rothbart, bringing menacing energy with an incredible, iridescent feathered outfit and huge, sweeping wings. He convinces as the dark, energetic force of the story and it would be good to see even more of him.

One notable asset to this whole company is the immaculate placement of arms and fingers, extending even to the seated audience of the party performances who raise their hands and arms in beautifully languid benediction. The corps de ballet excels in the cygnet sections, which shows off lovely co-ordination and timing. The national dances are fun — particularly impressive are the Spanish dancers, who show off graceful back bends and vibrant energy.

The setting and choreography is very classical and precise, but Ananiashvili also brings in a trio of black swans in the corps de ballet who appear just in the first act as Three Big Swans. In the Maryinsky tradition, many ballet companies feature a corps de ballet of black swans to symbolise Rothbart's dark magic, but this is usually in the final act. It is both curious that these balck swans disappear in the second act and their early appearance also lessens the visual impact of Odile's black tutu when she arrives on stage.

The production features a brand new set and more than 300 bespoke costumes. Around 1,500 metres of tulle were used to create the production’s iconic tutus — enough fabric to stretch from the London Coliseum to Trafalgar Square. The look is medieval fairytale in theme, with an emphasis on rich fabrics and pastel colours. Siegfried's mother (a majestic Ina Amaiparashvili) almost steals the show with a parade of metallic fabrics and towering headdresses. The set is minimal, relying on ornate backgrounds depicting enchanted castles, dark forests and snowcapped mountains.

The Royal Ballet Sinfonia are on fine form, injecting gorgeous intonation into Tchaikovsky's glorious score. Conducted with both pace and patience by Levan Jagaev, the music is the highlight of the evening.

It's wonderful to see the State Ballet of Georgia back in London, showing the discipline and grace they are known for. Just a few more sparks would be welcome.

The State Ballet of Georgia's Swan Lake is at the London Coliseum until 26 July

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