Just beautiful. Emma Hawes & The Corps work Swan Lake to the max. Photo by Tristram Kenton
I haven’t seen Swan Lake for four years now which, for a dance writer is a flipping long time. The break’s done me good, though, because watching all those swans line up in their geometric patterns after so long away was exhilarating. Especially when the corps of English National Ballet were as on it as they were tonight; lines were sharp, movement crisp and there was an exciting energy permeating through all of them. Brilliant.
In front of them, Emma Hawes produced an exemplary Odette/Odile. Although her physical movement didn’t always flow naturally into outer expression, her outstanding technique, long, graceful limbs and considerable charisma made her beautiful to watch. Her lakeside pas de deux with Siegfried (Aitor Arrieta) was everything you would want it to be; tender, desperately sad and intensely heartfelt. Arrieta himself was an excellent foil; his delightfully laconic style made him the epitome of a bored, brassed-off aristocrat and his partnering was superb. He also has a wonderful knack of transitioning leaps to arabesques with an insouciant swish of his right leg. As a couple, he and Hawes oozed chemistry and the tragic romance of their brief liaison shone through.
The Act I pas de trois also featured some fine performances, particularly Erik Woolhouse’s spectacular leaps and the startlingly quick feet of Julia Conway. To be honest there wasn’t a weak link in the whole show (although this production’s Rothbart is far too camp to be scary). Swan Lake, man, it’s such a good ballet and (Rothbart aside) ENB did it proud.
ENB’s Swan Lake runs at the London Coliseum until 22 January 2023. Click here for more info and tickets.
Gerard Davis
Dancing Review 