As Graeme Murphy’s Swan Lake digs
Tuesday, April 8th, 2008
ReviewAs Graeme Murphy’s Swan Lake digs its way deeper into the Australian Ballet’s repertoire, its sturdiness as a production reveals its strengths. Now six years and a good many principal casts away from its premiere, it has a life of its own that offers the dancers good opportunities and audiences the promise of an entertaining night at the ballet.
Not all the casts will have the chemistry that sets performances alight, and they are likely to be varied in their interpretive nuances. Yet they should be consistently strong and interesting - as was the opening night of the company’s 2008 Sydney season on April 4.
Madeleine Eastoe has developed technically and dramatically in the central role of Odette, using the gift of Murphy’s choreography to evoke character and emotion as well as storytelling.
Robert Curran’s Prince has also gained character, which took a while to emerge, but by the party scene was powering his customary good dancing. He is helped by having two forceful performances to bounce off: not only from Eastoe, but also from Jane Casson as the scheming Baroness von Rothbart, one of several dancers who have found their theatrical abilities sharpened by this unpleasant role.
The scenario of this Swan Lake has echoes of a marriage of convenience in a real-life royal family, complete with familiar characters. But it is set in the Edwardian era - with all those beautiful ice-cream toned costumes by Kristian Fredrikson, who also did the handsome decor - and the bride ends up in a psychiatric institution, dreaming of flying with the swans she sees through the window.
There may be a temptation to linger on the characters’ identity, which is reflected in the free cast sheet. It is good to know the enchanting Duchess-to-be is played so vividly by Gina Brescianini; the Earl and his close Equerry by Marc Cassidy and Matthew Donnelly in a crisply paired performance; the Marquis with the camera by the ubiquitous octogenarian Harry Haythorne; and the disapproving queen by Shane Carroll.
But where were the names of performers distinguished simply by their good dancing? On opening night Lana Jones and Danielle Rowe sliced through a perfectly competent corps de ballet with a brilliantly precise, graceful portrayal of power as the leading swans. It was a showstopper. And, along with several others, the chief Hungarian couple, Laura Tong and Remi Wortmeyer, also deserved to be known.
The Australian Opera and Ballet Orchestra, conducted by Nicolette Fraillon - led by Aubrey Murphy, who is also featured as a soloist in this amalgam of music by Tchaikovsky - made a notable contribution.
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