Sadler’s Wells, London.
28 October 2026
Once you’ve seen one Swan Lake, you’ve seen them all? False! Whilst the famous storyline might remain mostly the same, there’ll always be little nuances, differences, tiny details and new and experienced dancers to watch in different roles.
Tonight with Birmingham Royal Ballet was a fabulous example. I’ve seen quite a few Swan Lakes but I haven’t watched Sir Peter Wright and Galina Samsova’s Swan Lake in its entirety, so it was a lovely treat to engage with such a bright and energetic Act I, full of explosive jumps and fast turning sequences, for both male and female dancers.
An outstanding mention has to go to Riku Itu, dancing in the role of Benno, the Prince’s friend. From his first entrance running onto the stage at the opening of Act I, his bounding energy, and incredible height and power in the air, drew admiring gasps and applause from the audience. He also made a charming partner to the two Courtesans – Reina Fuchigami and Katherine Ochoa.
We met a sombre and confused Prince Siegfreid in Act I, danced by Yasiel Hodelin.
He was striking in poise, clear and genuine in mime and gesture, and I felt involved in his narrative, from his frustration at the Queen’s demands that he must choose a bride, to his boyish excitement spotting swans in the distance and racing off with his new crossbow. Odette’s impeccable entrance at the beginning of Act II was just what the enthusiastic audience had been waiting for. Danced by Yu Kurihara, she did not let anyone down for a second, embodying emotion and every movement of the swan’s wings through her richly expansive upper body and ports de bras. Hodelin again, so clear in his storytelling, was in wonder as the Prince, in awe of Odette as soon as he laid eyes on her. A touching moment as Odette gently touched and appeared at Siegfried’s shoulder, when he couldn’t see her amongst all the other swans. I’ve not seen this leading couple dance together before, and I’d choose to do so again. Such a satisfyingly beautifully entrance of the seemingly continuous stream of swans, and such impressive precision and synchronicity from the Cygnets – Olivia Chang-Clarke, Rosanna Ely, Sofia Liñares and Rachel Pizzillo, drawing well deserved admiration and enthusiastic applause as they knelt in their end position. I also enjoyed the dramatization here of evil sorcerer Von Rothbart’s powers. Performed by Jonathon Payn, he demonstrated his control by invisibly pulling and repelling a confused Prince Siegfried at the lakeside.
Act III brought a bright jollity and plenty of drama. I enjoyed the rousing national dances – always a highlight in my opinion – performed by the entourages of the three princesses, especially the Neapolitan Tarantella with lively tambourines performed with vigour by Olivia Chang-Clarke, Rachele Pizzillo, Ryan Felix and John Fontanini and Katherine Ochoa’s expressive portrayal as the Italian princess. Luxuriously colourful costumes, and grand ballroom set design; complete with central staircase and grand high-arched window above it and chandeliers overhead, all added to the rich scene. There were lots of humorous little moments added, that made the story so much more accessible, such as the princesses haughtily eyeing one another up as they entered, vying for the Prince’s attention. Kurihara made an excellent Odile, bringing a stylishly wicked sneer to her impressive execution of her choreography. A wicked glint in her eye, drew the audience into her evil plan.
A wonderfully emotive start to Act IV. The curtain lifted and smoke billowed out immediately across the orchestra pit and towards the audience, who were audibly appreciative at the atmospheric rising of the swans through the smoke. The live score played tonight by the Royal Ballet Sinfonia was so stirring throughout, but especially so here, deep in the melancholy of Act IV with the soaring famous theme tune and continual elegant lines and shapes created by the swans, as they sheltered a distraught Odette.
The tragicness of the inevitably sad approaching ending was already upon us; the lover’s sorrow tangible as Siegfried begged Odette’s forgiveness and they danced together for the last time. I was a little disappointed at not seeing them jump into the lake as the dramatic music crescendoed. They did jump but were obscured by scenery and other dancers, which lost impact in that final moment.
The body of swans rapid bourrée across the stage, seeing Von Rothbart off was hugely impressive. I loved being close enough for additional sensory input such as the sound of rippling pointe shoes and stickiness of resin against the stage floor. Benno ran on in the dark culmination, and pulled his friend’s lifeless body from the water, whilst a dark stage illuminated Siegfried and Odette high at the back of the stage, joined together for eternity. A powerful end and a memorable night.
By Louise Ryrie of Dance Informa.
