This latest production of Swan Lake from Scottish Ballet is graced, in a few performances at least, by the return of Sophie Martin to dance Odette/Odile. Due to dance the role(s) in 2020, that came to naught as covid swept the world.
And what a joy it was to be fortunate enough to attend a performance with her at its heart, to be reminded of the elegance she brings in such a seemingly effortless manner. I would walk a long way on a wet night to see Ms Martin dance any part.
However much my joy was unconfined at witnessing her flawless performance, I have to say that his production does not come across as an unqualified success. This “Swan Lake for a new generation” is presented in a manner that evokes austerity on all fronts, but perhaps this is what this generation seeks? A cold, grey background only broken by minimalist scenery that may have, in the words of the old advert, been “made in Scotland from girders” and brings to mind the Forth bridge rather than a swan lake.
The costumes are somewhat lacking in elegance, particularly for the males. Dressed mainly in dull tshirts which have the unpleasant side effect of highlighting, rather than disguising, the dancers’ sweat in armpits and on spines, and black leggings, they are ill-served indeed by their outfits.
While the females are dressed in bright and pleasant summer frocks, their transformation into swans sees them clad in one-piece outfits that, although exquisite when seen in close-up, when viewed from the distance of the auditorium, leave us with the unfortunate impression that we may be spying on a class of girls clad in gymslips.
It must be said, though, that the whole company overcomes the dullness of both scenery and costumes with impeccable style and verve. They add heart and soul to their undoubted skills to bring the story to life, although so much was dispensed with that I fear that anyone unfamiliar with the plot would be left puzzled at times. Not, perhaps, one for the newcomer then.
An evening of pros and cons, so much to enjoy and yet I was left with the feeling that by removing much of the magical element of the story, a great deal of that which is vital was lost. But perhaps it is, indeed, what the new generation want? If so, I’m afraid I remain stuck in the past.
Jim Welsh
Radio Summerhall Arts 