Photo: Hugo Glendenning
When Matthew Bourne first premiered his ground-breaking Swan Lake, there were walkouts and little girls crying. Where were the girls in tutus? Why was there a gay storyline? Where were Odile and Odette? Pearls were clutched.
It’s thirty years later, and happily Bourne’s iconoclastic and singular vision has not only endured, but is widely regarded as a classic. His narrative ballets have covered a lot of ground since then- from adaptations of theatre, film and opera- but the main reason for Swan Lake becoming an iconic piece is that it’s both accessible and dense with ideas. There’s a psychological theme here, concerning The Prince and his burgeoning sexuality, dormant for so long. It also explores the hypocrisy of royal duty, pomp and ceremony, and a distant toxic maternal relationship with his mother, The Queen. Bourne’s choreography emulated real life swans ‘ movement, and originally, Bourne wanted the genius Michael Clark in the role of The Swan. I think he’d be incredible, as he can emulate equal parts grace, danger and punky sex appeal, but can’t imagine him committing to (what would be for him) a conventional narrative ballet structure.
Pathos and humour are also equal bedfellows in Bourne’s work. The attention to character development is paramount, as well as Lez Brotherston’s gorgeous and innovative design. Most recently, Brotherston has been working his magic with the brilliant Scottish Ballet.
Watching the original cast again last night- including the late, wonderful Scott Ambler as the troubled Prince, driven wild by desire for The Swan (a menacing, sexy Adam Cooper)- its themes and issues feel as contemporary as ever. Bourne changed the landscape of dance, forever.
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