THERE'S been a fair bit of blether and argy-bargy about Scottish Ballet's startling new and magnificently modern Swan Lake, some of which has rendered a number of die-hard ballet buffs in a lather at the sheer effrontery displayed by choreographer David Dawson; he who has embraced diabolical ambitions to reshape and restage it for the 21st century.
Sure, it is a risk and very daring to sweep away the traditional tutus and the tights in favour of a cutting edge contemporary dance style presentation that is essentially ballet pared down to the essentials – but absolutely as stunning in its fashion as surely the great interpretation layered on by Marius Petipa in the late 1800s to woo that generation.
Production shot from 'Swan Lake'
Dawson, following insistent pleas from Scottish Ballet's artistic director Chris Hampson, has indeed transformed the very nature of this work.
He has taken the old canvas and painted over it a minimalist account of a love story that retains its passion and ultimately forlorn nature.
Yet it is certainly not minimalist in content, production values or the sheer consummate delivery by the principals and the corps de ballet overall.
The costumes are casually fashionable, even voguish, and Dawson has encouraged the designers to create a vivid palette of vibrant colours with yellow, red, pink and blue striking against an inspired angular and stark monochrome set that invokes an atmospheric sci-fi, even celestial, element to the proceedings; and where the lighting is also itself a star.
Production shot from 'Swan Lake'
It is, though, the performances of Christopher Harrison as the lovelorn swain Siegfried, Andrew Peasgood as his pal Benno and the astounding Sophie Martin as Odette/Odile - a singularly breath-taking and emotionally wrought take on the role - that bind this creation together.
And in truth, as she swoops and swoons, she is the critical essence of Dawson's magic.
His choreography is fluid yet clearly highly disciplined and offers a mesmeric, and at times dazzling, execution of the most intricate and delicate of movements that highlight the artistry and dexterity as exhibited by Ms Martin who actually, rather than an elegant swan seems more akin to a fragile and dainty flamingo, fluttering into the heavens.
Production shot from 'Swan Lake'
Add to this the fulsome contribution by the Scottish Ballet Orchestra that, under the baton of Richard Honner, gives an effusive and robust rendition of Tchaikovsky's wondrous music that punctuates the action on stage, and sweeps this production onto an even higher plateau.
The crabby critics - whom Robbie Burns once dismissed as 'cut-throat' bandits in the paths of fame' - of this astonishing work need to their ways to go hither, whilst to parody Shakespeare: And gentlefolk now a-bed, shall think themselves accurs'd they were not here - at the dawning of an exciting era for ballet in Scotland, which enriches all in these isles.
Bravo!
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