His Majesty’s Theatre, Perth
Date reviewed: Friday, November 18, 2022
What a way for the West Australian Ballet to conclude its 70th year! The WA Ballet’s Swan Lake has raised the standards of modernising old, perhaps outdated, storylines. Artistic Director Aurelien Scannella and choreographer Krzysztof Pastor, have once again (with the help of Noongar Leader and Guide, Barry McGuire) created a fresh, detail-oriented work that will, no doubt, be a fan favourite for years to come.
Set in Fremantle in the early days of settlement, this work, like many versions of Swan Lake, runs over four acts and includes a prologue. The prologue, however, does not tell the story of how Odette became cursed (as the prologue usually does). Rather, the performance opens with members of the Gya Ngoop Keeninyarra (One Blood Dancers) performing their Black Swan dance, accompanied by the voice of Boodja Wiirrn, the Spirit of the Land (played by Barry McGuire). It is notable that this specific dance dates back thousands of years, but has not been performed publicly since the early 1900s.
After the Black Swan dance ends, a wealthy young settler called Sebastian Hampshire (performed by Oscar Valdes) appears. Sebastian meets his friend, Mowadji, a Noongar Elder (performed by Kyle Morrison). The two men embrace and Mowadji ties a blue string on Sebastian’s arm to show he is an ally of the Noongar people.
Opening the show with traditional Noongar story, song and dance, as well as depicting the mutual respect and friendship between the white and Aboriginal men, was a truly special moment, and foreshadowed the themes that emerge throughout the piece.
True to the original, this adaptation depicts a love story, has a tragic ending and includes most of the usual characters including a large corps of swans - all black swans in this version. Odette is the only white swan in the entire performance and her role is altered slightly; she is loosely portrayed as a metaphor for the land of Western Australia, which redesigns the story to be one of respect for Country. The villain, William Greenwood, is a greedy businessman with plans to build on the land, and Odile’s objective is to seduce Sebastian to prevent his interference with her father’s plans. As a result, Odile and Odette are played by different dancers, which I think was the right choice, given that they are no longer direct opposites of each other. I found the slight shift away from romance to be a modern, refreshing twist.
Oscar Valdes created a believably joyful and earnest character of Sebastian. Both his solo and partnering work were superb. Kiki Saito embodied the fragility of Odette through her floaty port de bras and unshakable extensions; a great start for her first major role. Of course, Chihiro Nomura was utterly captivating as Odile. During the Black Swan variation, one person audibly gasped “wow” (and I agreed wholeheartedly). Matthew Lehmann gave an intense and villainous portrayal of William Greenwood, and Kyle Morrison, while not a ballet dancer, kept pace with his characterisation of Mowadji, creating a generous and brave persona.
The corps of 16+ black swans were perfection in both angles and timing, and the cygnets were clone-like with crisp, tight batterie.
The elaborate set by Phil R. Daniels really gave the show wow-factor; the set of Fremantle Harbour in Act 1, which featured a moving sailboat big enough for several dancers to stand on, was particularly impressive. The costumes by Charles Cusick Luck were equally detailed and masterful, as was the lighting by Jon Buswell.
This innovative version of Swan Lake is not only entertaining, but a step towards reconciliation for Western Australians. This season will be a momentous time for the WA Ballet, and I commend Barry McGuire, Kyle Morrison and the men of the Gya Ngoop Keeninyarra for sharing their stories and driving the creative process.
- ALANA KILDEA