ENB Swan Lake Reviews ENB reviews Edur Reviews Edur & Oaks Interview

I first watched ENB in London 20 years ago, when I was still a student, in Rudolf Nureyev's production of "Romeo and Juliet". What attracted me then was of course the star power of Nureyev, who danced at every performance. In 1979, ENB (or London Festival Ballet as it was then called) did not need to stage an arena version of "Swan Lake" to attract a capacity audience to break even financially. How times have changed since then!

With a long ballet-going experience, it is easy for one to feel disillusioned about the present state of classical ballet when comparing with the recent past. But I, for one, always have an abiding faith that ballet is like an eternal spring that will never cease to renew itself with the greatest dancers of each generation.

Although ballet is sadly lacking a genius choreographer to carry the classical torch forward after Balanchine's death in 1983, talented classical dancers at least are in abundant supply throughout the world.

Several of these are on view this week in the ENB "Swan Lake". Thomas Edur, the finest male classical dancer in Britain today in my opinion, was the Prince on the opening night (attended by the Chief Executive of Hong Kong, and the British Consul-General) and is to dance again on the closing night on Saturday. Tamara Rojo, ENB's newest star from Spain, will dance the Swan Queen on Saturday afternoon. Dmitri Gruzdyev (formerly of Kirov Ballet) is to dance the Prince on Friday.

"Swan Lake", this most famous of the 19th century classics, needs stars to illuminate it, especially a true ballerina who can redeem any production, no matter how bad. Margaret Illmann, the opening night's Swan Queen, has a formidable technique. Illmann was more in her element as the Black Swan in Act 3 than as the White Swan. Illmann threw in difficult double "fouette" turns in the coda of the Act 3 'pas de deux', and later executed a brilliant series of pique turns around the stage.

As Odette, the White Swan, Illmann lacked a warm feminity as well as vulnerability. She did not have a 'soul' to make us believe that she was telling us the greatest story about life. The Kirov Ballet's ballerinas who performed in Hong Kong last December had this spiritual quality.

Nevertheless, Illmann performed beautifully the delicate series of "battements" (beats) at the end of the Act 2 White Swan 'pas de deux'. In the final act she was more moving, especially in the end when she was serenely promenaded by her Prince in slow turns.

Thomas Edur, Illmann's prince, possesses rare virtues in his gentle temperament, and in the classical style of his dancing which is as pure as spring water. Edur is a prince in his whole being - his gracefulness of manners, and his immaculate dancing.

Edur's melancholy solo in Act 1 was beautiful in his seamless 'legato' phrasing, and heart-melting in romantic yearning. In the final act, Edur was poetic. It was moving to see him kneeling in repentance in front of Odette.

Edur's virtuosity was dazzling too in Act 3 in his multiple 'pirouettes'; and in his rapid double "tours en l'air", the first two pairs of which were executed consecutively. A feat seldom seen with other dancers! In his final series of "jete" turns round the stage, Edur seemed to hover in the air at the height of his big jumps.

I have had the pleasure of following Edur's career since he first joined ENB in 1991. I long to see him in some 20th century classics. I believe he has danced Balanchine's "Apollo" with the company.

In the supporting roles, I admired Kevin Richmond as the tutor; Yat Sen Chang and Simone Clarke in the Neapolitan Dance. The 'corps de ballet' of 70 swans (instead of the normal 32) certainly impressed by virtue of its sheer size, especially when seen from a high level as in my seat, if not uniformity.

Quantity is not necessarily quality, of course. I still have fresh memories of the harmonious unanimity of the upper bodies of the Kirov Ballet's incomparable 'corps de ballet'.

Apropos the choreography, I as someone who respects tradition object to the tampering with some parts of the Petipa choreography, which may be necessitated by the huge arena. The White Swan's theatrical entrance in Act 2 has been changed. The Act 1 "pas de trois" has been quadrupled into a "pas de douze" (for 12 dancers), and the 'pas de quatre' of the 4 cygnets has been doubled. I also dislike the shortening of the White Swan's traditonal exit on pointe horizontally into the wings at the end of Act 2, expressing her transformation back into a swan.

Fortunately, Derek Deane has the good sense in leaving intact the sacrosanct choreography of the White Swan 'pas de deux'. In Act 3 Deane is also sensible in having the national dances danced in proper character shoes. Deane's choreography for the Spanish Dance was quite pleasing both visually and rhythmically.

Deane's circular choreography for the Polish Mazurka was exhilaratingly performed by the whole cast. But again I miss the extra sparkle given by the superlative character dancers of the Kirov.

I like above all the final act which was presumably also re-choreographed by Deane. The various geometric shapes and patterns traced by the large 'corps de ballet' was quite fascinating - diamonds, circles, triangles etc. I was however at times reminded of "La Bayadere".

This production gave us a happy ending like the Kirov Ballet, instead of a tragic ending as in many Western productions.

Deane's production is sound dramatically, with a careful pacing towards the big climax in each act. The memorable dance moments all registered with the audience in Hong Kong.

For the record, the colourful costumes were designed by Peter Farmer. The simple Gothic set was designed by Graham McGuffie. John Pryce-Jones conducted the Guangzhou (Canton) Symphony Orchestra.