THE TRANSATLANTIC MAGAZINE
THE TRANSATLANTIC MAGAZINE
Music by Pyotr Ilyich Tchaikovsky, Choreography and Direction by Derek Deane
Kensington Gore London, SW7 2AP, June 12 to 23, 2024
Swan Lake is a production that we all know well, but seeing it in the round introduced a new dimension inviting you even further into the phantasm that is ballet. Choreographer and Director Derek Deane is an auteur, with a vision that has taken the production to captivating heights for nearly three decades at the Royal Albert Hall since its premiere in 1997. And the Alby, as the RAH is sometimes affectionately known, is indeed the place to watch this immediately recognizable ballet.
I met a lady in the bar who told me that she takes every opportunity to see anything at the venue, a place which makes any performance alluring. I recalled that my first visit was in 1983 to see Siouxsie and the Banshees and I was concerned that Dr Martens, leather, spikes and the mosh-pit would damage these sacred grounds, but she is still standing.
As I entered the auditorium, behind me were three Texas grand dames in collar-up couture Armani with Chanel pumps, jewels on all the pulse points and teased and set hair. It was apparent that they were established cultural travelers, taking in the world's best performances. In fact, the audience was magnificently dressed, dinner suits, tartan waistcoats, sequined and marabou gowns, and tweed jackets freed from the back of mothballed closets. There were plenty of Americans and a fair share of wheelchairs and walking sticks to negotiate and no children in sight. The ushers were honored to be in place and were properly trained, kind and useful. The audience were masterful spectators, connoisseurs of ballet remaining respectfully silent but you could tell they knew their pas de deux from a Tendu from an arabesque. No false standing ovations, they scrutinized the performance and did take to their feet in the end for a well -deserved ovation.
There was an inviting, voyeuristic feeling and some of the dancers entered through the audience isles, permitting an intimate, closeup glimpse. There were two breaks which was rather interrupting but to allow for costume and set changes and perhaps to allow for the added aerobics needed to perform in the round. Tchaikovsky could never have predicted that over 60 swans would make way onto the field of play, it was astonishing and many openly gasped. Harmonious power, grace and precision as the fouettés flawlessly floated in formation, a meditative and therapeutic experience.
Welshman Gareth Haw debuted in the role of Prince Siegfried with a prepossessing capability and showed even more intensity and connection in the second half of the performance. Odette and Odile were performed by Sangeun Lee, also her debut at the Alby and she captured Odile, the antagonist, with the necessary tension and magnitude, also shining brighter in the second half of the performance. In Act III, the fourth wall is broken when after the pas de deux the dancers take the applause from the audience. It's germane to the ballet but always strikes me as peculiar.
Now more than ever, we need the hope of good prevailing over evil. Go to the ballet, it's good for the soul.
