Swan Lake

Written By: Mark Armstrong

Format: Ballet
Genre: Drama
Date: June 1 2016
Location: Liverpool Empire Theatre

There are many different approaches that one can take to ballet. For some, it's about telling a story. For others, it's about the costumes and how they visualise a show for you. A couple might just be expecting a bear in a car (Simpsons reference). But in this case, the Scottish Ballet team have decided to tell the story of Swan Lake by focusing solely on the ballet, and allowing the dancing to tell the story. No fancy settings, no cute costumes, and no dialogue. And by concentrating on key aspects - and its strengths - it results in a very good production of this classic ballet tale, and ensures that the audience are impressed by the dancing on display, since their eyes are locked solely on the performers.

Although this retelling of the classic story is as modern as you can expect in such a setting (the ballet aspect provides limitations on how modern it can be; for example, don't anticipate that the slow, soft and gentle orchestra music will be replaced by rap or R&B!), the plotline itself is anything but. The very first production of Swan Lake was written in 1877 and was backed up by the music of Tchaikovsky, and it is this classic score which serves as the audio for this 2016 version as well.

Going back to the story, which is told over four acts (with an intermission between Act II and Act III): Prince Siegfried (Christopher Harrison), initially alone (and he is left alone wondering and wandering at various points throughout the performance), is advised to find a bride, but not for reasons of true love. His friends try to lift his spirits, whilst also helping him to find a suitable lady by searching for the swans. He soon meets Odette (Sophie Martin), who after initial hesitation accepts the Prince as a perfect gentleman and their relationship soon blossoms. But after the arrival of some evil black swans, it is clear that their presence and their actions has left a terrible, life-threatening impact upon the duo, and it soon becomes clear that they must find a way to battle their devilish ways or face some dire consequences. I won't provide further details so as not spoil the ending, although I will note that certain aspects of the plot have been tweaked, meaning that you may be surprised by some of what you see on the stage. And all of this is told solely through ballet dance; as noted earlier, even minor dialogue is not included. It's all about the dance.

So, it's fortunate that the ballet moves and dance sequences are stunning. Harrison as Siegfried, the most featured performer, is the person whose dance scenes are the most eye-catching of the production, and Sophie also does a fantastic job as Odette. That being said, all of the performers are very good; it's clear that this is a very talented cast, and one who take pride in their performances, ensuring that every single ballet routine right down to the smallest details are executed perfectly. It is a great compliment to the crew that they tell an occasionally-confusing story solely through dance, and do so very well. Sure, there's no dialogue, no costumes, no settings, but the show works without all of that.

It's definitely a show which is aimed at a specific audience; namely, those who appreciate ballet. Whereas some theatre shows of a certain genre can still attract the interest of a crowd who would normally not enjoy such a production, you really do have to be a fan of ballet in order to get the most enjoyment out of this show. Even amongst those who like ballet, the lack of "extras", or more specifically the sole focus on the ballet dance sequences, could lead certain spectators wanting more. For those with a fine appreciation for the art of ballet, however, you will really enjoy this modern take on the classic tale; and even those with some reservations will find the dance sequences to be more than enough in providing entertainment and telling the story.

Simply put, if you're a fan of ballet, then you need to make sure that you see Swan Lake.

Overall Rating: 7.5/10 - Good

Sleeping Beauty

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Matthew Bourne's Sleeping Beauty

Written By: Mark Armstrong

Format: Ballet
Genre: Drama
Date: February 16 2016
Location: Liverpool Empire Theatre

Originally written several years ago by Matthew Bourne, and having been performed at the Liverpool Empire in 2013, Sleeping Beauty has returned to the home city of the Liver Bird. For those unfamiliar with the work of Bourne, this is a retelling of the classic children's fairy-tale in the form of ballet, as well as some unexpected twists and turns.

Sleeping Beauty tells the story of a young Princess, Aurora (who is initially portrayed by a baby doll puppet, whose actions are humorously realistic, and is then played later on by Ashley Shaw), who is handed a curse early in life by the wicked Carabosse (Tom Clark). Come her 16th birthday, Carabosse is dead but her son Caradoc (also played by Tom Clark) still plots evil retribution, and so that is the day when Aurora falls victim to the curse.

In the meantime, however, she has fallen in love with the royal palace gamekeeper Leo (Chris Trenfield), against the wishes of family and friends. After the curse takes effect, which puts Aurora to sleep for 100 years, it seems that Leo has lost his true love, until an unexpected vampiric twist allows him to be on hand when Aurora wakes up. There are further problems at that time, however, which makes Leo's struggle to finally live happily ever after with Aurora an even harder task.

This is very different from your typical fairy-tale presentation. The timeline begins in 1890 and concludes in the modern age, which provides old-fashioned and modern takes on how times have changed during Aurora's development and her eventual awakening. The use of Tchaikovsky's music throughout the show provides a constant soundtrack of music that is soothing yet dramatic, and perfectly matches the on-stage developments.

But it is the ballet which makes this unique; with the exception of some projector text prior to each "era" of the story, as well as explaining the finale at the very end, the entire show is told solely through dance. Even the pivotal points of the plot are handled through dance, making this an unusual production, and in actuality a very difficult manner in which to tell the occasionally complicated story - but the show does so admirably. Even those unfamiliar with Sleeping Beauty will recognise what is going on, and the ballet never becomes a distraction, and serves as a fresh take on an often-told tale. The dance manoeuvers themselves are at times dramatic, and occasionally stunning. Because of the constant emphasis on dance, it is hard to pick out star performers, although Chris Trenfield, Ashley Shaw and Tom Clark do a great job in their roles, and tell their stories in a uniquely entertaining fashion. Facial expressions are key in a show of this nature, and all involved are tremendous at emphasising the gravity of what has happened solely through their facials.

There are several elements within the content of this production. There is dance, of course, but there is humour (mainly with the baby puppet, which is a real highlight of the show), there is drama (the curse scenes), there is emotion (the reactions to Aurora being cursed) and even some mild horror when Leo is "assisted" as he ponders how to save Aurora in the future, and in the closing scenes which take us inside the evil layer of Caradoc. It's a show that will keep one's attention, telling a simple story through multiple layers and creating an air of unpredictability, despite this being a common tale, which is definitely a good thing.

Ballet fans will obviously have the most appreciation for Matthew Bourne's presentation of Sleeping Beauty, but even those who have never seen ballet before should give this a viewing; you will have a new-found respect for dance and the ability to tell a story solely through dance after watching this show.

Overall Rating: 7.5/10 - Good