Matthew Bourne’s Swan Lake returns to Sadler’s Wells this Christmas and its extra-long run proves the enduring popularity of his innovative vision. Apart from the ingenuity of male swans rather than female ones, Bourne’s achievement is to bring new insight to an old ballet, and give it an ambiguity that disarms audiences as well as intrigues them.
True, the piece is as homoerotic as Tom of Finland but the male swans also convey universal human longings that transcend sexual orientation. When the Prince attempts to mimic the moves of the Swan, you sense his unbearably misplaced optimism that he can be free. Bourne also reveals the unhappiness in what we hope are loving relationships, with the Prince and his mother locked in mutual misery.
The challenge in a long runner is motivating the dancers who easily flag when performing eight shows a week for six weeks (some of the swans need coaching). Casting is also key, with the Prince and Swan/Stranger needing considerable compatibility. It doesn’t quite work with Christopher Marney as the Prince and Richard Winsor as the Swan/Stranger. Marney is the better dancer, and the narrative requires it the other way around. Winsor does have lovely looks, but occasionally lacks impact. Special mention for Lez Brotherston’s sets and costumes, which have been refurbed and look great.
Until 24 January. Information: 0844 412 4300;www.sadlerswells.com
Matthew Bourne's Swan Lake
Sadler's Wells
EC1
