Scottish Ballet commissioned David Dawson to create a new SWAN LAKE for a new generation. One that sees balletic forms taken to their astonishing extremes, with pointe-work balances poised on a tilt that challenges gravity to unstitch the relationship between ballerina and partner. Kinetic sculpture on one level, but also - on a more profound level - an expression of emotions and trust. Dawson’s instinct for movement somehow draws you into knowing what the emotional subtext is within the imagery, the effort, the flesh-and-blood physicality.
SWAN LAKE becomes Siegfried’s story. A coming-of-age journey where a young man - an innocent who doesn’t really fit into the ‘real’ world - learns about love because of the choices he makes, and because some of those choices turn out to be mistakes he regrets but can’t change.
The strong, graceful Odette captivates young and lonely Siegfried, their duets are powered by emotional honesty. She flies across the stage towards him, flanked by shifting formations of swans - reflections of her true form. But Siegfried mistakenly betrays his love for the fierce passion of Odile, who whips the air around her into a thrilling physical and psychological frenzy.
Arching backs, spiralling arms and mesmerising patterns push the company dancers to their physical limits in this tale of purity versus seduction.
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