Matthew Bourne Swan Lake, the 2019 DVD edition
So I finally got to watch the 2019 Matthew Bourne’s Swan Lake with Will Bozier and Liam Mower and I have thoughts.
First things first - Nicole Kabera is gorgeous queen and Katrina Lyndon is having a blast as the girlfriend.
I quite like good 95 % of Bourne’s changes he made from the original 1995 production - be it in choreography, costume or dramaturgy.
I like the slight shift with the girlfriend not being in it from the beginning with the general secretary, which makes her story more tragic and painful, so bring it on!
I like there’s no prince as a kid at the beginning with a swan plushie.
But I’m not sure I like that the connection between the secretary and the stranger was erased. True, with the 1995 production the end of act III (the ball) looked a bit too cartoon villain-y, with the stranger evil laughter while shaking hands with the secratary, but now - he just goes to the queen and embraces her and it’s just... Bland. I don’t know, I quite like the idea of the secretary plotting with everything and everyone all the time.
Now to the main characters. Liam is pretty good (saying it in the most british way possible), there’s no denying that, his dancing and technique is on top, his acting skills undeniable and he’s a perfect cast choice for this role.
But now to Will. I was truly looking forward to finally seeing him, as he was the only Swans/Strangers I missed back in 2019 when I was in London to watch the production live.
And I hate to say it, but I was quite disappointed. His characterisation was OK I guess, nothing special necessarily, but nothing too bland either. But what was putting me off all the time was his technique... It was clear he is not a classically trained dancer (as Adam Cooper was back in 1995 or Matthew Ball and Max Westwell in the 2019 run) and it was painful to watch, especially with the whole company evolving so much in this aspect! Back in 1995, they were not what you would call a ballet company (and New Adventures is not claiming they are a classical ballet company, so it’s cool) and there was basically just Adam Cooper (and possibly Scott Ambler) standing out.
But now, looking at the company (both men and women), they are different kind of animals now. True, Bourne is still much more about musical/jazz/modern/ballroom/whatever type of dancing, but it is undeniable his dancers now are much better in the classical ballet technique department.
And watching the male corps de ballet as swans doing really well with all their arabesques, pas de chevals, developpes and pointed feet in general, and then Will who you can see is trying, but his feet are just not trained enough for this sort of things... And it’s infurriating, because the man has A JUMP! His elevation is huge, he was seriously flying over the stage.
Is the Swan about pointed feet? Of fucking course it is not. The Swan is all about raw energy, animalistic power, charisma... (to the point where Matthew Ball sometimes looked like too well classically trained ballet dancer, not truly ready for the sheer abandon) But the technique matters as well. It may not be the most imporant thing (and gods know it is not for me, not by far!), but while its lacking is putting you off, then it is clearly a problem.
Will found his was as the Stranger, he seemed much more in his element, reigning over the stage and all the characters. And he was positively glowing in last act as the beaten up, but still fighting Swan. I love all those moment where he was jumping head first between the other swans, ferociously protecting his prince, fighting for him almost on the verge of absolute hysteria. The ending was as heartbreaking as it should be.
But still...
MB’s SL is still one of my very favourites. It’s still fucking spectacular and I love all the paralels and connections and reflections of the original SL characters and story with Bourne’s new one and all the possibilities his retelling offers.
But I just couldn’t shake the treacherous ideas about different casting for this latest dvd edition.
Because I would give anything to once again see Max Westwell as the Swan/Stranger (preferably with James Lovell as his prince - since these two together broke me beyond repair).
And Katrina Lyndon as the Queen (because she was heartless, stone cold and freaking amazing in this role) and Carrie Willis as the Girlfriend.
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Matthew Bourne's Swanlake
This is Emilie’s favourite dance performance and a significant research point in my project development as it connected to my prior interest in how ballet is being converted to be more contemporary, and it was a great visual inpiration for my project’s costume, lighting setup, and overall aesthetic.
Matthew Bourne's "Swan Lake" is a contemporary interpretation of the classic ballet. The production has been highly praised for its modernization of the original story and its use of male dancers as the swans.
In a review by The Guardian, the author praises Bourne's ability to modernize the story while still keeping its essential elements intact. The use of male dancers as the swans brings a new dynamic to the production, and the overall choreography is described as "powerful and emotive."
Another article by The Guardian features an interview with Bourne, where he discusses the process of creating his version of "Swan Lake." He explains that he wanted to make the story more relatable to contemporary audiences while still respecting the original material. Bourne also discusses his choice to use male dancers as the swans, stating that he wanted to challenge traditional gender roles in ballet.
The Los Angeles Times also reviewed Bourne's production, noting the striking visual design and the impressive athleticism of the dancers. The article praises Bourne for bringing a new perspective to the classic story while still retaining its emotional impact.
A review by Critical Dance focuses on the themes of Bourne's production, particularly the exploration of masculinity and vulnerability. The article praises the use of male dancers as a way to subvert traditional gender roles and create a powerful commentary on society's expectations of masculinity.
Overall, these articles praise Matthew Bourne's "Swan Lake" for its modernization of the classic story, its use of male dancers as the swans, and its exploration of themes of masculinity and vulnerability.
https://www.independent.co.uk/arts-entertainment/theatre-dance/features/swan-lakes-revolutionary-twist-613041.html
COSTUME HAIR CHOICES:
The Independent's website titled "Swan Lake's revolutionary twist" that discusses Matthew Bourne's decision to have his male swans shave their heads. The article explains that Bourne wanted his male dancers to have a more "androgynous look" and believed that the shaved heads would help achieve this. This choice also benefitted the dancers as their hair would not move as they dance, and the light reflected made their sillouettes apper clearer and swan-like. According to the article, the dancers were initially hesitant to shave their heads, but eventually agreed to do so. The article also touches on other aspects of Bourne's production, including his decision to set the ballet in an asylum and his use of contemporary music.
When exploring this, Emilie (my dancer) explained to me about how this ballet adaptation was her favourite contemporary ballet pieces, and it inspired many of her dances. When discussing the Bourne's choices to shave his dancer's hair, Emilie said she was willing to shave her hair for my project to reflect her inspirations in my project.
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The Mars Room, Rachel Kushner (2018)#
One Day, David Nicholls (2009)
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A Man in Love, Karl Ove Knausgaard (trans. Don Bartlett) (2009)
Convenience Store Woman, Sayaka Murata (trans. Ginny Tapley Takemori) (2018)#+
The Orton Diaries, Joe Orton (ed. John Lahr) (1996)
Heatwave, Victor Jestin (trans. Sam Taylor) (2021)
The Color Purple, Alice Walker (1982)#
Leaving the Atocha Station, Ben Lerner (2011)#
Those Who Leave and Those Who Stay, Elena Ferrante (trans. Ann Goldstein) (2013)
All The Devils Are Here, David Seabrook (2002)
Milk Teeth, Jessica Andrews (2022)
Hot Milk, Deborah Levy (2016)
If I Had Your Face, Frances Cha (2020)#
A Waiter in Paris: Adventures in the Dark Heart of the City, Edward Chisholm (2022)
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If on a Winter's Night a Traveller, Italo Calvino (trans. William Weaver) (1979)
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