Matthew Bourne’s Swan Lake, a groundbreaking reimagining of the classic ballet, continues to resonate decades after its debut as we saw tonight at the Liverpool Empire.
This 30th-anniversary production of Swan Lake, while perhaps less shocking than its 1995 premiere, retains its anarchic spirit and emotional core, offering a potent exploration of family dynamics, repressed desire, and the search for identity.
Bourne’s genius lies in his ability to blend the familiar narrative with a fresh, contemporary perspective, creating a work that is both timeless and strikingly relevant. And how tonight’s audience enjoyed it!
At the heart of the ballet lies the complex and ultimately tragic relationship between the Prince (played tonight by Stephen Murray) and his emotionally distant mother, the Queen (Nicole Kabera). Bourne masterfully portrays the Prince’s yearning for maternal affection, juxtaposed against the Queen’s coldness and preoccupation with royal duty and her own desires. This emotional chasm fuels the Prince’s despair and his desperate search for connection, symbolised by the enigmatic Swan.
The parallels to the British Royal Family scandals of the 1990s, while perhaps less pointed today, still resonate with the ballet’s exploration of public image, private turmoil, and the impossibility of genuine intimacy within the confines of royalty. The Queen’s updated wardrobe, including a vibrant scarlet gown and crown, further emphasises her sensuality and the underlying tension within the palace walls.
The all-male ensemble tonight is nothing short of phenomenal. Their embodiment of the swans is both graceful and powerful, evoking a sense of awe – and a hint of hissing menace. These are not the delicate, ethereal creatures of traditional ballet; Bourne’s swans are fierce, athletic, and potentially dangerous, their movements sharp and precise. The choreography, a blend of classical ballet, modern dance, and even elements of tap, is breathtaking in its dynamism and expressiveness. The iconic “white scene” is transformed into a display of raw power, the swans’ synchronized hisses and movements creating a sense of a cohesive and predatory pack.
Jackson Fisch’ dual portrayal of the Swan and the Stranger is captivating. As the Swan, he embodies a captivating blend of power and vulnerability, his movements fluid and mesmerizing. His pas de deux with The Prince is a highlight of the ballet, a poignant expression of longing and connection. However, his transformation into the swaggering, sexually charged Stranger in Act III is equally compelling. He oozes a raw sensuality that draws the attention of both the Queen and the Prince, further fueling the Prince’s jealousy and despair. Murray delivers a nuanced and affecting performance as the Prince.
He captures the Prince’s vulnerability, his awkwardness, and his descent into despair with remarkable sensitivity. His transformation after encountering the swans is palpable, a moment of pure joy that quickly gives way to the tragic reality of his situation. Another mention must go to Bryony Wood who plays The Girlfriend with a sassy, street-wise swagger that has the audience on her side from the get-go.
Other aspects of this production also excel. The set design seamlessly enhances the narrative, with the stark, minimalist aesthetic creating a sense of isolation and confinement, reflecting the Prince’s emotional state. Memorable scenes, such as the ballet theatre and the swan-themed bar, add layers of depth and meaning to the story.
The clever use of lighting and shadows further amplifies the emotional impact of the performance, creating a dreamlike, almost hallucinatory atmosphere. Some of the sets are at an angle, being placed on stage slightly off – kilter, thereby reinforcing this idea of events not being quite in lock-step with reality. And the projection of the swan image behind the Prince’s bed underscores the ballet’s exploration of fantasy and reality, blurring the lines between the Prince’s inner world and the external pressures he faces.
Bourne’s Swan Lake is more than just a reinvention of a classic; it is a powerful and moving exploration of universal themes. It is a ballet about the search for love and acceptance, the weight of duty and expectation, and the destructive power of repression. It is a ballet that speaks to the complexities of human relationships, the pain of unrequited love, and the longing for escape.
Thirty years on, Matthew Bourne’s Swan Lake remains a masterpiece, a testament to his visionary artistry and the enduring power of dance. This production continues his vision; it is simply a must see theatrical experience, and with an ending that will never, ever leave you.
*****
Matthew Bourne’s Swan Lake
Liverpool Empire
Tuesday 25 February – Saturday 1 March 2025
Tickets
