Those who say change is not a good thing haven’t seen the
Cullberg Ballet perform its radical interpretation of
Tchaikovsky’s “Swan Lake.”
This two-hour ballet performed Friday and Saturday night in
Royce Hall went by in a flash of bald heads and men in tutus. Who
could ask for a more pleasant and entertaining evening?
This Swedish ballet company’s “Swan Lake”
imbues Tchaikovsky’s 19th century version with an eccentric,
modern flair. In choreographer Mats Ek’s version,
Siegfried’s mother is bringing him up alone, and he is
jealous of her lover. For his birthday his mother gives him a
paler, more subdued version of himself. He decides to go on a quest
to find a girl for himself and, by doing so, his own personal
freedom.
The dancers are the most obvious contrast with the classically
elegant version. Frolicking around with neither shoes nor hair,
they contort themselves into unusual and seemingly awkward
positions. Instead of following the more traditional graceful and
rhythmic dancing style, they perform many spasmodic motions. Even
in an arabesque movement, the dancers’ legs and feet are
flexed.
Ek does an exceptional job of coupling intense emotion with
playfulness. Audience members can actually feel the anguish and
jealousy in Siegfried’s eyes as he gazes upon his mother and
her lover dancing together. In the next instant, however, Ek
maneuvers the audience into a joyful and playful scene where
Siegfried is dancing with his friends to upbeat, energetic
music.
Performed against the changing backdrop of enlarged silky swan
feathers, the Cullberg version paints a contemporary visage on the
play by adding multi-dimensional personalities to the characters.
Making Siegfried’s mother witchier than she is in the
original productions as well as adding underlying jokes and insults
lends a more realistic outlook to the play.
What truly created the characters were the acting and dancing
abilities of the performers. The dancers entranced the audience
with their intricate movements and expression. Everything from
their pointed toes to their extended arms and jumping capability
(move over Michael Jordan) held the audience in rapture. By
affecting smiles and frowns, heightening sulks and exuberance, the
performers’ ability to convey emotion was as beautifully
skilled as their dancing.
Though the production was excellent, there were some confusing
parts. In many early scenes, much of the audience had no clue what
was going on because of the radical changes Ek made in the
characters’ attire. Though this change was awkward at first
(seeing bald women jumping around and then men in women’s
roles), the confusion was dissolved 20 minutes into the play.
An overall successful production, the Cullberg Ballet easily
surpasses even Tchaikovsky’s expectations for his own ballet.
For all ages and people, the modern twist on this ballet makes it
ideal for a younger, more rebellious crowd, yet suitable for the
older, more traditional balletgoers. Here comes a production
that’ll knock your fishnet tights off ““ or your
toupee.