Nikolaj Hübbe & Silja Schandorff:
“Swan Lake”
with additional choreography by Gregory Dean and Oliver Starpov
Nikolaj Hübbe and Silja Schandorff’s take on “Swan Lake” offer a breathtaking scenography, some fine interpolated choreography, but most of their inventive ideas do not pass muster nor brings any value to the concept.
Since 1996, the Royal Danish Ballet’s “Swan Lake” was the Peter Martins version created for the company. A slick post-modern version that did not really use the dramatic skill set of the RDB. The décor was by Danish modern artist Per Kirkeby, who came to the production without any experience from stage work. It showed particularly in the first act.
For a long period, it has been Nikolaj Hübbe's wish to replace the Martins version with a stronger bid, and it has now been possible due to generous sponsors.
Nikolaj Hübbe teamed up with his deputy artistic director Silja Schandorff, who is regarded in Denmark as the ultimate Odette/Odile. With a strong lineup of company stars and a stellar corps de ballet, who have an impressive Act 3 of “La Bayadére” in their bag, it seems a valid quest and with the added bonus of a big production that would ensure good box office.
The Hamlet Touch
Following his productions of “La Sylphide”, “Napoli” and “A Folk’s Tale”, Hübbe’s strategy for “Swan Lake” was to add something to the traditional concept.
He and Schandorff has therefore added a prelude, where Siegfried’s father is buried. Rothbart holds the day job as chancellor at the Royal Court and an ending showing Siegfried and Odile’s wedding. Additionally four character dancers are presenting the faculty, a group of courtiers responsible for preparing Siegfried to Royal duty.
The problem in the production is that neither of these interpolations get a leg to stand on. The burial is over in two seconds. The black cloaks are dropped (actually a bit like the beginning of “Napoli” act 3). Regarding the civil list role of Rothbart, it remains unclear why Hübbe and Schandorff has travelled this route. Moreover, one is struck with the notion that this route is taken to create a significant role for strong male dancer, rather than for a dramatic purpose.
There are choreographers who takes on the role as artistic directors and there are artistic directors who take on the role as choreographers and Nikolaj Hübbe is definitely in the last category. His choreographic decisions is often dictated by his needs at artistic director. For instance, he changed the Pas D’Action in “La Bayadére” to include more male dancers, to give his upcoming male stars more to do. The choice to make Rothbart into a scheming, but brilliantly dancing courtier and to take Benno along the roads comes over as reusing the same strategy.
The Killer Performance
Jon Axel Fransson is so vertical a talent that he not only had his debut as the jester in Peter Martins version as a first year dancer. Now he is a virtuoso Rothbart in first cast and will be Benno in second cast; he could as well have done Siegfried.In my view he should have had that opportunity, because he is an outstanding classical dancer and partner. As it is, he is the run-away success of the evening with his fine dancing and stage presence.
For Alban Lendorf the role of Siegfried in the Martins version was the break out role that showed he could be much more than a virtuoso. With Gudrun Bojesen as Odette/Odile, he showed great acting and partnering skill and created a memorable and touching Siegfried.
This time around, it appear that either have the stagers forgotten Siegfried or Lendorf cannot be fired up to really invest himself in the role. I tend to believe the first option.
Like his other productions, Hübbe seemed carried away by his own ideas. Yes, putting a Hamlet spin on Siegfried could be a workable plot, but from the moment the burial is over, nobody including Siegfried cares two straw about the dead king. It also seems like Siegfried is forgotten in the very busy first act. There is really nowhere for him to sit, unless he want to sit on a bench on the back of the stage. Where ever he stands there are rows of corps and ballet children forming yet another formation. The focus is on Rothbart who also gets better choreography.
Neither has Lendorf the luxury of an outstanding partnership to save the day.
The idea of a new “Swan Lake” seemed a questionable project, as RDB is in the middle of a generation change of ballerinas. The leading ballerina since Silja Schandorff retired, Gudrun Bojesen is only doing a divertissement in this production and although there is a crop of young potential ballerinas coming up, the employ of leading lady is yet to be filled. For the first night, American J’aime Crandall is facing the challenge.
The role of Odette/Odile demands a ballerina who can be both romantic and a virtuoso and it also a role that suits a long limbed dancer best. Crandall is a strong technical dancer, but she has never been comfortable in a romantic role, nor does she have the panache needed for Odile.
She has partnered Lendorf in several leading roles, but both of them generally performs better with other partners. It is no help either that the directors seems to focus almost anywhere else than the head couple. Still I must say that I do expect more from Lendorf than what he delivered last night. He is such a strong performer, that he should be able to bring more, even if it means not staying on the game plan.
A Band of ill-fitting Brothers
As well as turning Rothbart into a virtuoso, Hübbe and Schandorff also try to make more of Benno and brings him along in the white act. Save the pas de trois, he is not really used for any purpose other than creating the illusion that Rothbart’s cape can stand on its own. Actually, there is so much focus on the cape that is should have had its own listing.
Neither is it made clear whether Benno is a friend to royalty or Evil’s little helper. In the first act’s busy dancing, Hübbe and Schandorff constantly uses Rothbart, Benno and the jester in much in the same way John Neumeier uses Mercurtio and Benvolio in the carnival scene in "Romeo and Juliet”. However, where Mercurtio and Benvolio are playing for the same team, Rothbart, Benno and the jester are not interchangeable.
As Benno Jonathan Chmelensky gets a lot of stage time, but as the role has little purpose he is mostly just hanging around. He did well in the pas the trois, but his two partners Holly Jean Dorger and Kizzy Matiakis was unable to hit the lightness needed.
The Danish “Swan Lake’” has always included the jester as a virtuoso part for the company’s strong demi characters dancers, but this time there is almost nothing left to do, so Tim Matiakis also is left alone in in an ill-fitting and ill-conceived costume. Get more or get out. He could have had a decent solo in Act three, where we in this production gets yet another corps number.
Swans in Motion
As demonstrated in an intro workshop and at two performances of “The Hübbery”, Silja Schandorff has done an amazing job in infusing the corps the ballet with her swan personality and skills, and this becomes the really strong point in the production. The corps is moving rapidly up in the list of international super corps. The greater stage of the opera provides the space needed.
Another strong point in the production is the four divertissements in act three. Silja Schandorff and Nikolaj Hübbe decided to ask two budding in house choreographers, Principal Dancer Gregory Dean and first year dancer Oliver Starpov to each produce two divertissements.
Schandorff and Hübbe also made the same choice as former Artistic Director Flemming Flindt in his 1969 production to scrape the six princesses and instead make the four divertissements a presentation of four candidates.
The result is four well-constructed stand-alone pieces, where the choreographers are busting with ideas and energy. The Hungarian section by Dean is an elegant number for Gudrun Bojesen and four ladies showing shapes and control and the benefit of not over emphasizing the national folklore.
Dean's other number the Neapolitan dance is likewise a well-constructed and pleasing trio for Ida Praetorius, Marcin Kupinski and Ulrik Birkkjær. Dean really show his highly developed skills and high taste levels. He could be the one to take one the classical revivals.
Young Starpov is more of a risk taker, but does certainly also delivers bang for the buck. The Spanish divertissement ads a punk feeling to the folklore. And his Russian extravaganza is daring acrobatic and fun in its use of Femke Mølbach Slot as the striking ballerina in shorts with seven cavaliers in skirts. I love the little punt where the seven men makes their version of the “Apollo” fan movement. Starpov show why his talents is worth pursuing.
Let There be Darkness
There is very high production values in Mia Steensgaard’s costumes and Mikki Kunttu’s sets and lighting designs. Inspired by the 1998 movie on Queen Elizabeth I, breathtaking over the top renaissance costumes and avantgarde designs for the divertissements mixes with the classical standard costumes. My only complaint is that the costumes for the corps in first act is somewhat bland and I could have wished for some sleeves.
The abstract scenography find nuances in the darkness and creates stunning backgrounds and stage visions, where you hardly can tell what is physical and what is light designed objects. However, there is no natural habitat, nor a lake to swim in. The swans are very much left on dry land.
A Promise not quite Fulfilled
All though there is many qualities in the production, I am still left slightly unsatisfied. The main reason is that it appears like there is no real master plan for the production. To many half-baked ideas and to little focus on the key elements and casting.
So yes, I want more. However, it is my firm belief that the company has the talent and skills to really make a stunning “Swan Lake”. We are not yet there and there are routes taken that should be reconsidered.
It will happen. Whether it will be in this production only time can tell.
Phots by Costin Radu Copyright(c): Royal Danish Ballet.
1. J'aime Crandall as Odette with ensamble
2. Alban Lendorf as Siegfried, Jon Axel Fransson as Rothbart and Tim Matiakis as the Jester
3.Jon Axel Fransson and Alban Lendorf as Rothbart and Siegfried
4.Alban Lendorf and J'aime Crandall in Black Swan Pas de Deux
5. Alexandra Lo Sardo, Stephanie Salgren, Benita Bünger and Silvia Selvini as the small swans
6. Gudrun Bojesen in Hungarian Divertissement
7. Femke Mølbach Slot in the Russian Divertissement
8. Mett Bødtcher as the Queen
Comments