Review: SWAN LAKE Soars in New National Ballet of Canada Production

It's been nearly two years since the National Ballet of Canada had planned on premiering their new SWAN LAKE, but in this case late is definitely better than never. The stunning new production, directed by former Artistic Director Karen Kain, has finally arrived on the Four Seasons Centre's stage.

Kain's take on the beloved tale walks the fine line between reimagination and respect for source material beautifully. In this production, Odette (Jurgita Dronina) is an adventurous young woman who becomes entrapped by Rothbart (Spencer Hack) during a night in the woods with her friends. She's cursed to live as a swan during the day, alongside the other women captured by Rothbart. As her love interest, Prince Siegfried (Harrison James) leaves home after being told he must marry, and meets Odette in the woods. The pair immediately connect and over the course of the production are tested, separated, and eventually, their relationship ends in tragedy.

What's especially refreshing in this staging is how modern it feels for something clearly set in a fairytale-esque setting full of royalty, magic, and darkness. Odette was captured, but consistently fights against Rothbart's hold on her and stands defensive over the other women. Siegfried's mother and sisters seem to have a great amount of agency, possibly due to their royal status, and at the masked ball where Siegfried is to choose a bride each candidate introduces herself and vies for his hand independently (give or take a few supporting dancers).

As moving as the story is at its core, it's really brought together by a talented, powerful cast of dancers and actors. Choreography is credited to Kain, Christopher Stowell, and Robert Binet but it's noted in the program that it's influenced by the choreography Kain herself danced when she performed Odette (choreographed then by Erik Bruhn, Lev Ivanov, and Marius Petipa). Dance is key in SWAN LAKE, and in this production it's integrated so naturally that it's easy to slip into the story, rather than feel as if you're just watching a performance.

As the trapped Odette, Dronina is nothing short of exquisite. It might be a tired comparison, but she performed the role with all the grace of a swan. She also performs Odile, the antagonistic character who helps Rothbart deceive Siegfried, so distinctly that you'd think it was another dancer in the role. As Odette she's all fluid movement, and her gentle demeanor carries through; as Odile, she carries a specific sharpness that makes the character feel like a threat from the start of her masquerade. As both characters, she nails the difficult and near-constant pointe-work with seeming ease.

James is a wonderfully balanced Siegfried to both Dronina's characters. He exudes the earnestness of the character, and dances both the solo and pair pieces of the work solidly. Even though he never speaks, he's able to convey emotion beautifully and provides a human perspective into the world of Rothbart's dark magic. Hack plays the imposing Rothbart extremely well; even with massive wings affixed to him, he moves fluidly through both dance and acting portions of the role. Aside from the main characters, the production benefits greatly from a cast of talented performers. The mix of dance and non-dance acting roles, brought to life by a large ensemble, are essential in fleshing out the world of Kain's SWAN LAKE.

Another key element in this SWAN LAKE is how immersive it truly is; a massive pair of Rothbart's wings adorn the stage before the curtain even rises, with projection work (projection design by Sean Nieuwenhuis) making them seem as though they're alive. Dreamy landscapes and large set pieces (set, property and costume design by Gabriela Týlešová) merge Odette and Siegfried's worlds beautifully, with lighting (lighting design by Bonnie Beecher) enhancing the stark intimidation of Rothbart, or the soft, tender moments between the ill-fated couple. The costumes are stunning, with the iconic white and BLACK SWAN outfits kept effectively simple. Rothbart's costume, stark black against pale skin, is enhanced by a set of large, black wings that move with the dancer easily - they seem natural, despite the unnatural form of Rothbart's character. Costumes on the non-dancing characters are exceptionally elaborate, with the masquerade ball scene delivering a wide range of imaginative, exciting costumes for its characters.

It'd be difficult to discuss SWAN LAKE without mentioning its music. Briskin conducts the orchestra wonderfully, with Tchaikovsky's score soaring through iconic musical compositions that would be familiar to most ears, regardless of their knowledge of ballet. The dreamy quality of the music might carry similar motifs and themes throughout, but it never feels tired or repetitive; Briskin and orchestra inject great energy into the more intense numbers, and soften as needed when the story requires it.

Even after a significant delay in taking to the stage, this SWAN LAKE feels timely. Not just in its characters being modernized to relate better to today's audience, but its innate tale highlighting the tenacity of the human spirit and the desire to fight for what you love, or want to protect, is something that might always be relevant. The cast, crew, and orchestra of this production, like many of us, have waited a long time to return to the theatre - and while 2022 might not have been when they planned on performing SWAN LAKE, the wait was definitely worth the result.

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The National Ballet of Canada's SWAN LAKE runs through June 26 at the Four Seasons Centre for the Performing Arts, 145 Queen St W, Toronto, ON.

Photo credit: Karolina Kuras

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