Yu Kurihara as Odette and Yasiel Hodelín as Prince Siegfried in Swan Lake. Photo by Clive Booth
Swan Lake’s widespread appeal has cemented its status as the jewel in the classical ballet canon. Sir Peter Wright and Galina Samsova’s version of the Tchaikovsky classic, first performed in 1981, is equally etched into British culture. Produced by the Birmingham Royal Ballet under the direction of Carlos Acosta, Wright and Samsova’s choreography, paired with the glorious sounds of The Royal Ballet Sinfonia, is a sophisticated affair elevated by legacy, but which often finds itself shackled by self-inflicted modesty.
Swan Lake’s story is hardly what people flock to — Prince Siegfried (Yasiel Hodelín Bello)’s journey to finding true love in Princess Odette (Yu Kurihara), a princess cursed to be a swan at night — is not where the grace lies. If anything, it’s a rather dull plot. Attraction is, of course, found in awe-inspiring tour en l’airs from members of the royal court and graceful swans who arise from a misty lake in Act Four.
Yasiel Hodelín Bello is steadfast as the afflicted prince who, in his robust athleticism, captures a blend of uncertainty and passion; the Pas de Deux with the antagonist black swan Odile in Act Three seeps with lust and manipulation, and is intelligently arranged. Meanwhile, Yu Kurihara as Odette/Odile is a glistening vessel of dexterity trimmed with vulnerability. The pinnacle role for a ballerina, Kurihara’s skill (especially in masterful fouettés) absorbs the audience’s fascination.
While assured in classical stability, it is an understated piece which often lacks finely-tuned moments of pathos — in Act Four, the choreography is ill-equipped to tackle the climax of the lovers’ emotional toil. Consequently, an ornate design by Phillip Prowse also loses its power when the action weakens.
But, away from its uninspired detractions, the Birmingham Royal Ballet company holds true to Swan Lake’s perennial display of class and elegance.
Swan Lake runs until 31 October at Sadler’s Wells Theatre, London.
★ ★ ★
Written by David for Theatre and Tonic, October 2026.
