“Wild and vicious, curious and testosterone fuelled, like creatures from an ancient myth made flesh”
This restaging of Matthew Bourne’s iconic Swan Lake is superb. It is wild, funny, vicious, lyrical and heartbreakingly beautiful. The first incarnation of the show was in 1995, and it caused quite a stir, replacing ballerinas in tutus and feathered headdresses with muscular male dancers, but it won the hearts of audiences straight away, encouraging more young men to become dancers, and building a new audience for ballet. The audience tonight was enthralled throughout, with that incredible stillness that only the very best in theatre and dance can create. And when the curtain came down the standing ovation was total, instant and long. We didn’t want to let the dancers go.
Dancing the Swan and the Stranger tonight was Will Bozier. He is powerful and irresistible as the sexy, leather trousered stranger at the Royal Ball, and compelling as the Swan, inhabiting the strange avian otherworldliness of the choreography with passion and strength. Dominic North’s Prince is a fish out of water at the court, a lost young man who we immediately feel for. His first sight of the Swan is electric, and his joy when they finally dance together is palpable and moving. His acting is extraordinarily good, and gives his character a reality that is rare in dance.
Carrie Willis, as the girlfriend is a treat. She is a TOWIE princess, at sea in the Royal world, annoying, sweet, hilarious and loveable. Even when dancing in the ball scene she kept her quirky character intact. Katrina Lyndon is fabulous as the queen, clearly enjoying male intention, particularly when the Stranger arrives, and incapable of understanding her son. The female ensemble are strong, and when the smouldering, sexy stranger arrived, they approached him, there were no shrinking violets here, they knew what, or rather who, they wanted. And they managed to dance it in heels.
The power of the ensemble of swans is extraordinary. The sound of bare feet on the stage, their audible breathing, the hissing…. Wild and vicious, curious and testosterone fuelled, like creatures from an ancient myth made flesh.
Lee Brotherson’s design creates the world of the court, the street and the seedy club with an atmospheric and vivid aesthetic, beautifully complemented by the drama of Paule Constable’s lighting design. Its always good to have a live orchestra, and Tchaikovsky’s music is still running through my mind as I write. Matthew Bourne and his team have created a masterpiece. I hope it will live on for many more years.
“warm and intimate, yet vast and epic at the same time”
“Fiddler on the Roof” is based on the stories of one of the most famous and beloved of all Jewish writers; Sholem Aleichem, who came to be known as the ‘folk singer’ of the Russian shtetl. Written between 1894 and 1914 the stories were a series of stand-alone monologues told by the character of Tevye to the reader. Aleichem had started to amalgamate these into a dramatic adaptation but died before he could finish it, but what he had already managed to do in his tales was to capture the hunger and the passion of his people trying to survive under desperate circumstances, but also the humour and the irony.
The often-staged musical has reflected this with varying degrees of success, but it is safe to say that Trevor Nunn’s revival hits the notes perfectly with a truly magical mix of mockery and menace. The story centres on Tevye, the father of five daughters, and his attempts to maintain his Jewish religious and cultural traditions as outside influences encroach upon his family’s lives, not least of which is the edict of the Tsar that evicts Jews from Russia. At the same time, he is coping with the strong-willed actions of his three eldest daughters who wish to marry for love and whose choice of husband moves further away from the customs of the faith and heritage that he is, sometimes reluctantly, clinging onto. This production brings to the fore the deeply rich humour of Joseph Stein’s book. But we are never quite allowed to escape the shadow of the impending threat of exile.
Andy Nyman makes this show his own with his portrayal of the patriarch ruled by his wife, Golde (a perfectly pitched performance from Judy Kuhn). Nyman’s effortless stage presence sculpts a wholly heartfelt and honest portrayal of his character, veering between tradition and compassion, and bending his beliefs, where necessary, for love. He knows exactly when to switch on and off the comedy, a skill matched by the entire ensemble. The same sensitivity is applied to Sheldon Harnick’s lyrics. Often unfairly branded as kitsch, the poignancy and the irony are accentuated by the fine performances. And combined with Jerry Bock’s sumptuous score, orchestrated for an eight-piece band, it is an exceptionally moving piece of musical theatre.
Choreographer Matt Cole remains faithful to Jerome Robbins’ original which is a feast for the eye. In fact, all our senses are treated to this outstanding rendition. Full of belly laughs it is a cry from the heart. The gorgeous strains of “Sunrise, Sunset” segue into a euphoric wedding dance which, in turn, is broken by the arrival of a vicious tsarist pogrom.
It is warm and intimate, yet vast and epic at the same time. It speaks softly to each of us yet its message shouts out to all of us. The source material is over a century old, but it is still sadly topical and the final scene where the villages flee their homeland is breathtakingly stirring. The musical ends not with a bang but a whisper. Not with a chorus line but a band of silent souls heading towards an uncertain future. The lone fiddler is beckoned, and he steps down from the roof to follow them.
All that can follow this is the standing ovation this production deserves. A production that is heading towards a far from uncertain future.
