Graeme Murphy's Swan Lake

The Australian Ballet
Playing at the Sydney Opera House until April 24, 2008.

I know what you’re thinking. Ballet, as far as contemporary entertainment goes, is reserved for snooty housewives and old ladies. Most of the time you’d be right, but every once in a while comes a ballet that jerks the common man from his place and makes him put on a tux. Graeme Murphy’s Swan Lake is such a ballet. Labeled an Australian classic by critics time and time again, Murphy’s take on the century-old favourite is simply breathless. With a completely reworked storyline and an innovative blend of classical and contemporary choreography, Swan Lake treats audiences to a first-hand parade of raw, primitive human emotions. The story deals with an ill-fated love triangle between a Prince, his young bride and his greedy lover; a story that is romantic in its nature, and modern in its depiction, complete with cold baths, crazy party girls, insanity, jealousy, love, and, of course, swans.

Murphy, a former dancer with The Australian Ballet, was first given the task of reworking Swan Lake in 2002 as the company’s new Artistic Director. A tough job for any choreographer, let alone one new to the craft, Murphy succeeded in creating an intelligent production that, as he claimed would be his aim, can capture an audience’s imagination without asking them to suspend belief.
“I always wanted to give The Australian Ballet a unique Swan Lake. Every company would love to have one, yet not many do,” Murphy said in an interview for The Australian Ballet.

A job well done, I say. Murphy based his version of the ballet (loosely) on the Princess Diana, Prince Charles, Camilla Parker-Bowles love triangle, and the devastation suffered by Diana when she realises her husband is in love with another woman. Kristian Fredrikson’s set and costume design is a perfect vehicle for Murphy’s vision – from the ingenuity of the all-white opening scene marking Odette’s innocence to the all-black final act to mark her descent into madness, the set is a mix of clean, minimalist lines and reserved opulence that do much to indicate the thorough thought that went into every aspect of this production. Similarly, Murphy’s dance choreography is flawless, using contemporary steps to reveal humour where needed and some of the most delightful and engaging pas de trios routines I’ve ever seen in a ballet.

Since its debut in 2002, Murphy’s Swan Lake has continued to delight audiences both here and overseas, and I have no doubt it will continue to do so for many years to come. This is truly an Australian effort we can be proud of.