Swan Lake Tutus: Awe-Inspiring Ballet Spectacle
One flock of swans flies in, then another, and another, until there are 60 white-clad dancers packing the vast Royal Albert Hall arena stage like a Hitchcock fever dream. Arranged in perfectly regimented formation, it’s an avian battalion, a blizzard of tutus – and it is truly awe-inspiring. Almost three decades on, Derek Deane’s 1997 Swan Lake spectacular for English National Ballet still has major wow factor.
Deane’s idea in creating this in-the-round epic was to fit the production to the venue, and use its grand scale to fire up an audience new to dance. His entertaining version boasts jugglers, acrobats and enough dry ice for a Pink Floyd world tour, while the unrivalled Tchaikovsky score is delivered with thrilling majesty by the English National Ballet Philharmonic under Gavin Sutherland.
Deane reconfigures the work for 360-degree viewing via constantly shifting ensemble patterns – from concentric circles to crossing diagonal lines or a giant V. You get double your money, or more: the Act I pas de trois becomes a pas de douze, radiantly danced, and there are two pristine sets of Cygnets. This format does, though, expose some of the filler sections, as everything has to be high-octane to hold the space. It’s also harder to make subtler emotion register, which limits the love story. But long-time partners Sangeun Lee and Gareth Haw, as Odette and her Prince, otherwise make an assured ENB Swan Lake debut. Both long-limbed and gorgeously expansive in their lines, they’re bonded by a shared ability to express stroppy teenager levels of angst.
Haw’s strong support means that the supple Lee can go for broke on the lifts, particularly in the pulse-racing Black Swan pas de deux. Driven to distraction by Lee, who transforms into an imperious femme fatale with a triumphant smirk, Haw hurls himself into jaw-dropping jetés that soar to the heavens. Lee tops that by aiming her fouettés at each bank of the audience in turn – an extra virtuosic flourish in this never-better show-off scene.
James Streeter is in his element as a panto villain Rothbart, emerging from a volcanic eruption of fog and sprinting breathlessly in circles to ensure his giant scaly cape is billowing behind him. Janae Haworth makes a fabulous diva entrance as the Queen, commanding floor-length sleeves and four ladies-in-waiting while Michael Coleman provides a comic note as the doddery Tutor, and Haruhi Otani and Rhys Antoni Yeomans are a bubbly delight in the Neapolitan Dance. All are extravagantly costumed by Peter Farmer in Disney medieval attire: crushed velvet and feathered plumes galore.
But this is really a love letter to the collective in dance. Seeing a corps of 60 swans matched down to the tiniest detail, the placement of each arm and the soft thudding of each bourréeing foot, is spine-tingling, otherworldly, and just a little bit threatening. We share the Prince’s open-mouthed astonishment at this eerie fairy-tale wonder. Never mind the current vogue for video projections and technical trickery – it’s no substitution for the sheer visceral power of bodies on a stage.
In addition to the breathtaking performance and stunning choreography, the elaborate costumes and the captivating music create a truly immersive experience for the audience. The synchronized movements of the dancers, coupled with the grandeur of the Royal Albert Hall, make for a magical evening that transports viewers into the world of Swan Lake.
Overall, the Swan Lake Tutus ballet production is a must-see for both ballet enthusiasts and newcomers to the art form. The combination of talent, spectacle, and emotion makes for a mesmerizing performance that will leave a lasting impression on all who are lucky enough to witness it. So, grab your tickets and prepare to be swept away by the sheer beauty and power of this awe-inspiring ballet spectacle.
Until Jun 23. Tickets: 020 7589 8212; royalalberthall.com