Dublin Dance Festival 2025: Matthew Bourne's Swan Lake

Jackson Fisch (The Swan), Stephen Murray (Prince) and Company, Matthew Bourne's Swan Lake. Photo Johan Persson

*****

Despite what marketers would have us believe, there are very few seminal, groundbreaking productions. Even less that remain fresh, vital and continue to break ground thirty years on. Matthew Bourne’s incomparable Swan Lake is one such production. The hype sells it short. Tchaikovsky’s eternal ballet refashioned in ways that honour tradition whilst subverting it. Respecting the form whilst poking fun at its conventions. Poetic, sumptuous, spectacular, movement married to music, narrative, and emotional expression is refined into supple, choreographic fluidities that undulate across the stage. Rigorously exacting technique manifested in the dancer’s body creating a visual spectacle par excellence. Immeasurably enhanced by Paule Constable’s expressive lights, and Lez Brotherston’s opulent costumes and set, with both evoking old world, Hollywood glamour. Matthew Bourne’s Swan Lake gracing Bord Gáis Energy Theatre as part of Dublin Dance Festival 2025. Proving, in the process, that it remains a breathtaking tour de force.

Stephen Murray (Prince) Matthew Bourne's Swan Lake. Photo Johan Persson 

Narratively, Bourne’s remix proves remarkably current, as it was when it premiered in 1995. Its tale of a Prince and a commoner, rigid royalty not amused, celebrity obsession and a parasitic paparazzi evoking themes that fashionably resonate. At the centre of which is Dubliner Stephen Murray's weak willed Prince. A blend of movie star good looks with gormless childishness who is forever out of his depth, be it ruling a kingdom or ruling his heart; Murray's powerful movements infused with captivating grace throughout. Pursued by a scene stealing Girlfriend; Bryony Wood's ditzy blonde, one part flirt, two parts attention seeker, irresistibly hilarious and divine. Katrina Lyndon’s hot to trot Queen, regal with a wild streak, equally ravishing as she rules the stage, her lovers, and her juvenile son’s impetuousness with commanding ease; Lyndon’s straight backed, effortless composure evoking the presence and charisma of Cyd Charisse. Accompanied by her faithftful Private Secretary, a superb James Lovell.

Eve Ngbokota (Romanian Princess) and Jackson Fisch (The Stranger ) Matthew Bourne's Swan Lake. Photo Johan Persson 

As boy meets girl and introduces her to his disapproving family, it’s easy to understand why ballet’s bourgeoisie and Petipa purists were less than enthusiastic about Bourne's version. Classic choreography replaced by gestural expression emphasising story and emotion looks more akin to a musical. Similar to Fred Astaire or Gene Kelly where ballet adds to the choreographic mix rather than defines it. A social night at the theatre to see a dance troupe finds the eye drawn to the royal box where Wood’s comic shenanigans upstage everyone. And so it goes; bursts of conventional choreographic colour, such as The Fosse inspired Swank Bar sequence, until the Prince and Swan meet in a park one fateful night. Introducing a magical transformation mirrored in the choreographic transformation onstage. Jackson Fisch’s Swan, and later Stranger, along with a muscular yet featherlight troupe, cementing ballet, through glorious leaps, lifts, turns and extensions, as the core choreographic component in sequences of extraordinary beauty and exactitude.

Jackson Fisch (The Swan) and Company, Matthew Bourne's Swan Lake. Photo Johan Persson 

Whilst talk often focuses on Brotherston’s iconic dressing of the swans, the Royal Gala, like a Met Gala only better dressed, delivers sublime costuming that highlights the body's musculature, enlivens expression yet never seems to restrict the dancer, evident in a series of exquisite pas de deux. The arrival of The Stranger, a walking aphrodisiac with the confidence to know it and own it, sees ballet become sensual, passionate, powerful. Men dancing as swans might challenge conservative attitudes and singular notions of masculinity, yet when it comes to lust the song remains the same; lads and ladies do really love them a bad boy. And Fisch is a very good bad boy. As we rollercoaster towards the tragic denouement, a second rollercoaster ride follows as we plunge into one final, feral encounter with The Swan, culminating in a breathtaking bedroom sequence having come full circle to where we started, only now everything has changed.

Jackson Fisch (The Swan) and Company, Matthew Bourne's Swan Lake. Photo Johan Persson 

Some will say, technically, this is not Swan Lake. Different story, different steps. But like a classic cover of a classic song, Matthew Bourne’s Swan Lake remains true to the original whilst being its own unique thing. True to the ballet's poetry, power, exuberance and romance, looking fresher today than it did thirty years ago. Indeed, If you see only one ballet this year, make it Matthew Bourne’s Swan Lake. There’s simply nothing else like it.

Matthew Bourne’s Swan Lake runs at Bord Gáis Energy Theatre as part of Dublin Dance Festival 2025 till May 24.

Matthew Bourne’s Swan Lake features a rotating cast. This review responds to the performance on Tuesday, May 20th as part of Dublin Dance Festival 2025.

For more information visit Bord Gáis Energy Theatre or Dublin Dance Festival 2025