The choreographer Matthew Bourne is seen rehearsing his company in a studio in east London, a building that is easily recognizable as the home of the BBC’s MasterChef. Accessible from the nearest station by crossing a noisy dual carriageway through a dark tunnel, and then following the road past a Tesco branch until reaching a bridge that spans a creek (the studio used to be a water mill). Initially, the bridge appears ordinary, with an Evian bottle floating disconsolately in the water below. However, in the future, this spot becomes a gateway to enchantment in my mind. On one side, heavy traffic and stray supermarket trolleys; on the other, the captivating sight of 30 young men in old T-shirts and baggy shorts, leaping skyward.
Watching this group dance for an hour inside the studio, I am mesmerized and find it difficult to look away long enough to jot down notes. Their movements are tenderly expressive, accentuated by their boyish, mismatched attire, evoking a deep emotional response (my heart feels tenderized like a steak). These men are the stars of Bourne’s Swan Lake revival, a groundbreaking show that features men dancing the roles traditionally performed by women in Tchaikovsky’s original ballet.
This production of Swan Lake holds a special significance for them, as it was likely the inspiration for their dancing dreams, perhaps influenced by the film Billy Elliot. The commitment and dedication of these dancers are palpable, with Lez Brotherston, the designer of the piece, noting that some dancers even shed tears when trying on their swan costumes for the first time. Bourne’s critique of their performance during a break, pointing out areas lacking character, does not deter their unwavering focus and dedication.
As Bourne prepares to unveil this production, he reflects on the changes in culture since its last staging six years ago. The inclusion of a romantic relationship between two male characters in Swan Lake was initially met with mixed reactions, but Bourne is pleased to see the evolving acceptance of such themes in the wider culture. Despite the evolving social landscape, the core message of tenderness and gentleness displayed by the male dancers in the production remains poignant.
Bourne’s innovative take on Swan Lake continues to challenge traditional norms in ballet, with his emphasis on men moving lyrically and powerfully together evoking a unique and captivating experience for audiences. In a world where male violence against women is on the rise, the portrayal of tender masculinity in Bourne’s Swan Lake is a refreshing and poignant artistic statement. „Why are the swans female?“ he wondered. „There are male swans out there, after all.“ When the chance to try something new presented itself – his version of The Nutcracker for Opera North had been a success – he decided to take a risk: „We were a small, unconventional group of six dancers at the time. We were rebels, and we had nothing to lose.“ He was aware that it might fail. What he didn’t anticipate, even in his wildest dreams, was that lines would soon be wrapping around the block outside Sadler’s Wells, where it premiered; that it would receive numerous awards (over 30, including three Tonys); that it would go on to become the longest-running full-length dance classic in the West End and on Broadway.
The first night was nerve-wracking. „I was terrified, truly terrified. It was one of those moments where you feel like your legs are going to give out. I was speechless. It was a full house and everywhere I looked, there were famous faces from the dance world…“ The audience, he recalls, was taken by surprise – and that was a key factor in its success. „No one could envision what a male swan would look like. I think everyone thought they would come out in tutus. When Adam Cooper, who played the Swan/the Stranger, made his entrance as a swan… they were not prepared. I believe we could have done anything after that, and they would have embraced it. They were captivated by it: the fear and the beauty. It was the shock of the new, and that wasn’t what I had expected. And then, during the intermission, they went out and discussed it with each other, and they decided they liked it, you could feel that.“
However, he couldn’t recall much beyond the moment during intermission when producer Cameron Mackintosh cornered him and said, „This has to be in the West End.“
The next morning, a few of the older critics – particularly Clement Crisp of the Financial Times – were taken aback (Crisp continued to dislike Bourne’s work, claiming he couldn’t take him seriously due to his „uncanny ability to understand what the public desires,“ and that he was tired of him turning masterpieces upside down and „shaking them to see what falls out of their pockets“). Alicia Markova performed as Odette/Odile in a ballet production. Various alternative versions of the ballet have been created over the years, such as a unique interpretation by Peter Darrell for Scottish Ballet, a version by John Neumeier for Hamburg Ballet that involves a twist on the story of King Ludwig of Bavaria, and Mats Ek’s version for the Swedish Cullberg Ballet featuring both male and female swans. The lead dancer, Cooper, recalls the challenges and rewards of performing in the lead role of the ballet. Isabel Mortimer, another dancer involved in the production, praises Bourne for his inclusive and collaborative approach to choreography. Lez Brotherston, the set and costume designer for the production, also shares insights into the creative process behind designing the iconic swan costumes. Aber 60 Paare frischer Beine wurden gerade geliefert, ein Moment, den er immer besonders demütigend findet: „Gosh, denke ich: Eine Zeichnung, die mir wahrscheinlich eine halbe Stunde gedauert hat … und sie anzuziehen ist ein Initiationsritus für die Tänzer.“ Als junger Designer pflegte er zu sagen, dass er wüsste, dass er es wirklich geschafft hätte, wenn er jemals jemanden in Verkleidung sehen würde, der eines seiner Designs gewählt hatte, à la The Rocky Horror Show. „Und dann passierte es. Ich ging in eine Bar in New York. Es hatte viele Fotos seiner Kunden, und es war eine Halloween-Nacht, und es gab zwei Typen, die als Schwäne verkleidet waren. Ich war alleine und trank etwas. Niemand wusste, wer ich war. Aber ich war so glücklich – meine Schwäne hatten es geschafft.“
Matthew Bournes Schwanensee: Die nächste Generation tourt vom 11. November bis zum 7. Juni 2025. Es ist im Sadler’s Wells, London, vom 3. Dezember bis zum 26. Januar.