Review of The Ballet of the State of Georgia’s ‘Swan Lake’: “As if Aronofsky was behind it”

Tchaikovsky’s fairy-tale masterpiece returns to the London stage in a new limited-running production starring one of the most acclaimed companies in Eastern Europe. Guillermo Nazara shares his views on the show, to let us know if this musical reverie manages, once again, to earn its wings.

It’s the power of love! Far before Huey Lewis made the millions he didn’t need (his words, not mine) through the song that defined a whole generation, romantic composers have already been toying with the idea of a passionate heart becoming the mightiest asset  of the human form. Swan Lake is probably the highest epitome of that concept, breathing the idea through every pore of its lush score – and written by a man whose creative zest was only second to the unfulfilled longing that built his personal torment.

Brought back every year to the London stage, the State Ballet of Georgia’s version is the third major production the West End scene has been visited by – with really big shoes (no pun intended) to fill after ENO’s impeccable 360-degree rendition at the Royal Albert Hall. The efforts have been laudable nonetheless, and though the level of spectacularity its predecessor set may have not been succeeded in the very same manner, audiences were still regaled with an evening of awestriking fantasy – through what, in the end, felt as a charming homage that kept the piece’s sparkle pretty much alive.

Returning to a proscenium approach, SBG’s version puts tradition on the front line, with a simple yet beautifully concocted design relying on painted fabrics presented through a discreet use of forced perspective. Enhanced through an intricate lighting design that evenly mixed its atmospheric elements with a latent emotion-driven tone, Tchaikovsky’s fairyland wonder was solidly revived in a delicate, innocent portrayal which however exuded ardour and pizzazz.

Choreographed by Marius Petipa and Lev Ivanov, the start of the rendition (and, most likely, the whole course of the performance) served as a mirror example of the initial frustration and later bewilderment Vicent Cassel’s sadistic character projected in Aronofsky’s neo-film noir classic Black Swan. Though the troupe showed superb acting skills from the beginning (perhaps, the best understanding of the roles any recent montages have flaunted), Act One was sadly blemished by a mild yet undergoing lack of subtlety, naturalness and coordination in their execution.

With not too many ensemble parts displaying sufficient homogeinity, expectations were clouded and, inevitably, lowered during the interval – as nothing we had been offered up until that moment felt properly polished, and eventually, extraordinary for a piece audiences in this city know better than members of their own family. But just as the artistic took over Natalie Portman’s personage during her metamorphosis into the evil twin, the montage itself experienced the same kind of transformation – moving from an average interpretation at best to actually a brilliant one.

Fervent and exhilarating, the rest of the rendition boasted astounding movement – exuding exceptional motifs put together through a delivery which, though still not perfect, felt absolutely compelling. Led by Nino Samdashvili and Oleg Ligai in the principal roles, both dancers brandished their performances with electrifying magnetism, coated by a soft yet enduring layer of fineness – channelled through a satisfying extent of comprehension and rapport.

Exceptionally conducted by Papuna Gvaberidze (despite a few minor glitches during some of the violin solos), SBG’s old-fashioned take on Tchaikovsky’s signature work has and offers all that any contemporary ballet viewer could hope for. With remarkable costumes (both in number and pattern), competent dancing and music as rich and moving as it’s enchanting, its touching finale may come as the only main issue the public may suffer from – for as much as you’ll hope for their love story to live on, you will not like its spell to be broken.

All pictures credit to Sasha Gusov.

Swan Lake plays at the London Coliseum until 8 September. Tickets are available on the following link.

By Guillermo Nazara