Elongated necks, a peck with the beak, a rustle with their feathers. The dancers used their whole body in new ways with balletic grace
Wow…what a night. The much awaited revisiting of Swan Lake by Scottish Ballet sets to stun future audiences who are lucky enough to get a ticket before it sells out. Having been put on hold since 2020, they have certainly not not missed a beat in making this production of the year!
David Dawson the choreographer, has brought in a modern fresh take on Swan Lake. The choreography spoke for itself with Swan like movements radiating through the dancers bodies. Sultry arched backs, elongation through their necks, a peck with the beak, a rustle with their feathers. The dancers used their whole body in new ways with balletic grace. Interspersed with unique movements that can only bring forth swanlike connotations. The dancers moved as if on ice, on water. Overall, a modern and creative piece of work by Dawson.
The cast created such a magnificent dazzling display of strength and control. The principal dancers were supported by a varied cast, who brought their own individuality to the movements yet managed to blend all together as ensemble within their own flavour of what they bring to the stage and character.
On the opening night Sophie Martin was cast in the role of Odile/Odette, alongside Bruno Micchiardi as Siegfried. Their chemistry on stage was electric. It was absolutely exuding and dripping with passion. Sophie was beyond stunning, and extremely skilful in her physical display of Odile/Odette. Their bodies close, snaking in tender synchronicity. Bruno holds his own in the portrayal of the depth of feelings in his journey with Odile and Odette. Love, confusion, fear, heart wrench. He held the audience in his palm of his hand, as we journeyed alongside his story with him.
Not forgetting Thomas Edwards as Benno, whose majestic jumps were flying of of the stage!
The set design by John Otto really transformed the stage, bringing us directly into the world of the swans. The light design of Bett Dalhuysen conveyed Moonlight and shadows, which absolutely complimented the dramatic moments within the piece. More so, the emotive element of the use of shape within the main set piece certainly drew out emotion from the audience as the final scene played out.
The costume pieces by Yumiko Takeshima brought a vast variety of palette and style. Playing with the use colours to showcase each characters place. When Odette first emerges on stage, she looks absolutely stunning as a swan. Contrasting completely to what has came before. There is a special secret held in this costume,….i will leave it for you to go and find out. Takeshima’s use of contrasting design between Odile & Odette, is further intensified with the ensemble stage presence of both ‘sides’ that Siegfried is caught up between.
Accompanied by the Scottish Ballet Orchestra, the music score of Tchaikovsky held it’s own among the dancers. Such intense moments of duet between Sophie & Bruno needed nothing more than the harp or violin and it somehow felt so full, so full of feeling, with minimal orchestration. The orchestra played superbly! Those who had not ever heard the song played live will definitely not forget this experience, bringing together such a well known score and a ballet with such an emotive depth of movement.
Don’t miss out! the upcoming dates for the remaining shows are below, i would urge you, not to miss such a climatic journey of love.
His Majesty’s Theatre, Aberdeen
18 – 20 April 2024
Eden Court, Inverness
26 – 27 April 2024
Festival Theatre, Edinburgh
2 – 4 May 2024