The Hawth Theatre, West Sussex.
1 November 2025.
The English Youth Ballet presented an unusual version of the traditional story of Swan Lake – essentially a ballet within a ballet – a read of the synopsis is recommended before viewing!
Now into its 27th year, the English Youth Ballet offers the unique opportunity UK-wide for 100 student dancers to rehearse and perform in a full-length classical ballet alongside professional dancers.
The audience today, including lots of young children – possibly here for their first introduction to classical ballet – holds an air of anticipation and the curtain rises on the character of Von Rothbart (played by Oliver Speers in the manner of a classic villain) coaching Odette in her role as the Swan Queen while his daughter Odile looks on with contempt.
The gauze behind them is lifted and we have our first view of the dance students in sashed white dresses presenting a beautiful ports de bras. Young dancers are performing on pointe for perhaps the first time, or early in their pointe journey. They have bright and engaged presentation; and gradually the stage fills with more and more dancers in a lively courtiers dance. A lovely bright opening.
As Prince Sergi (James Pullum) and Odette dance together centrally – well rehearsed but not perfectly matched as partners – student dancers frame the stage. A notably inspiring moment for them to be able to witness partner-work and share the stage with these classical dancers. Odette, danced expressively by Ann Wall, offers deep layers of sadness and melancholy in her role as the tragic storyline plays out. There is attentive background mime from the student dancers – platters are proffered to the courtiers by waiters. Youngest dancers aged eight and above enter the stage in a bright allegro filled with skips, galops and plenty of happy expressions, and then everyone joins in a colourful and effective grand promenade.
The production is attractively costumed, matched well with the joy in dance demonstrated by all dancers. There is also great representation of both male and female dancers on stage.
More student dancers enter as swans, using choreography that is derived from the original. White and pink layered dresses with feathered shoulder and head pieces look visually appealing. The dance of the cygnets is very sweetly arranged with eight younger dancers in teams of four. What a treat to be on stage dancing to this iconic music!
Act One ends with the swans swirling around Odette, and Act Two opens in the ball scene; the princesses arriving with their entourages – representations of their respective countries. This was very eye-catchingly choreographed; student dancers selected as princesses were elegant and clear in their acting roles.
Plenty of engaging divertissements followed, including the Spanish dance – a well-presented lively and passionate audience favourite. And the Hungarian dance – a pleasing stylish number with plenty of solo opportunities. Youngest dancers returned to the stage dancing with tambourines – great for rhythmical and artistic development.
Odile, played by Olivia Trevelyan-Richards, gave a beguiling performance. Plotting with her father to trick the Prince, she had an enjoyable sense of mischief about her. The Prince falls for Odile just as Odette walks into the ball, a white cloak around her shoulders. He is immediately distraught and his subsequent rejection of Odile is quite aggressive, as is Von Rothbart’s anger towards her at the failure of their plan.
Odette has already fled back to the lake and her swan friends are there swarming around her protectively when the Prince arrives begging her forgiveness. The lovers reunited; the swan friends now attempt to hide them from Rothbart as he comes storming into the lake scene.
Quite a turn of events in this unexpected ending with the Prince being stabbed by Von Rothbart, who in turn is stabbed as the swans swirl around him. Sometimes there are no winners.
Except in this production, they all were and they returned to the stage for a dancing finale! A dramatically entertaining afternoon.
By Louise Ryrie of Dance Informa.
