BRB 'Swan Lake' reviews 'Swan Lake' reviews Helimets in reviews Smolen in reviews recent BRB reviews

David Bintley was in unapologetic mood at the Trust Reception on Tuesday about the press reviews for Swan Lake. The opportunity was give to those attending to view the technical setting up for Swan in the NIA and it was most interesting.

The place is huge, rather akin to a large aircraft hanger and its size dwarfed the six scenery pantechnicons that had driven onto the Arena floor. The performances are being presented in a 'curtained off' section(end?) seating 3,000(!). The stage is raised on the Arena floor with (an enlarged?) orchestra immediately in front. There were a dozen or so rows of demountable seating before the permanent concrete tiers and typical athletic stadium seating took over. I was concerned that the construction of the venue would mitigate against good sound, which was re-inforced when those showing us around, confirmed that microphones would be used.

On Wednesday evening, I turned up at the BRB Studios to find that Sir Peter Wright was ill with a bad chest infection. The talk was replaced, somewhat fortuitously, by Desmond Kelly and Marion Tait rehearsing a section of the Act III pdd with Iain Mackay and Isabel McMeekan at less than 12 hours notice.

Mr Kelly kept us much entertained with asides but this in no way detracted from the obviously serious work which was taking place (even though no performances were scheduled, and the whole thing was absolutely fascinating.It was only here that we learned that the stage was purposely the same size as Sadlers Wells and that dancers would only finally gain access on the Thursday afternoon before the evening performance.

I atended the Friday evening performance with Tiit Helimets and Molly Smollen.

He was as wonderfully secure as ever and a most attentive partner. Molly Smollen was excellent too. Although Tiit is, I feel the better performer. Ms Smollen had great facial expression and good arm movements, but I fear I was spoiled by having seen a Kirov performance in the summer. That said however, the principals were most affecting.

Amongst the remaining cast members, I was particularly impressed again by Kosuke Yammamoto as Benno - a last minute substitute for an injured Krzysztof Nowogrodzki. Kosuke is incredibly neat and will I think be a real asset for the company. Iain Mackay impressed in the Spanish dance - he'll be another one to watch - in only his second season he's already a First Artist - as did the ever dependable Jonathan Payne. Alex Whitely was also good in the Neapolitan dance.

From my vantage point in row K, slightly stage left (probably equivalent to the Royal Opera stalls row V), the corps seemed a shade scrappy with their arms, although David Bintley and others immediately in front, seemed fairly pleased. I need not have worried about the orchestral sound which, apart from a tendancy to a synthetic sounding base due most to slight over-miking sound very well - to my admitted surprise and pleasure.

The production is fairly gloomy - as they all are and the costumes seem fairly renaissance Italy in nature with excessive brocade. I fear Act III will always be known to me as the funny hats act, but there we are.

The house was full and warmly receptive and it was wonderful to see so many young people in the audience. It's the first time I've been to a ballet where they've beeing munching popcorn (silently) through the performance.

The performance over-ran by 15 minutes, and I was stranded in Birmingham but I wouldn't have missed it for the world. More please.

(My final thanks to Nigel Green at The Burlington Hotel for coming up with a room and staving off an uncomfortable night on New Street Station)