The brand new (2023 founded) Mergaliev Classical Ballet brings to Richmond’s now 125-year-old theatre a tame and traditional rendition of the tragic classic best suited for young audiences.
Swan Lake is one of the dance world’s most famous ballets and for good reason. Tchaikovsky’s score is compelling and engaging and the story is simple and accessible. It follows Prince Siegfried (Azamat Askarov), a young man upon whom tragedy suddenly strikes. Urged to choose a bride he spurns the seductive court and ambles into the woods alone. Followed into the woods by the ominous and treacherous sorcerer Rothbart (Jackson Stewart), whose menacing musical motif is no less satisfying for its ubiquity, Siegfried is shocked to discover that the swans he hoped to spear are in fact beautiful maidens temporarily transformed into birds by the evil sorcerer. Queen among them is the luminous Odette (Assel Askarova) whom Siegfried instantly falls in love with. Their tender courtship and ensuing desperate struggle to triumph against the malicious sorcerer pluck at audiences’ heartstrings in just the earnest and unpretentious way that fairytale tragedy should. Clearly devised for post holiday family outings, you would be forgiven if only having seen this production for misunderstanding it as a light comedy with stakes on the level of a child’s pantomime.
A simple and traditional fairytale castle backdrop hung with more than a few wrinkles in the elaborate Victorian proscenium of the Richmond Theatre like a slide in a children’s playbox from another era of childhood whimsy making the dancers appear themselves much like dolls in their simple traditional costumes. Brilliant whites, sparkling pastels, and the occasional pop of color came together onstage to enhance the illusion of watching events unfold as if at a child’s hands pulling together figures from different brands and styles of toys available. A few costumes here and there were ill fitted to their wearers or clashed with the lighting design of the production but certain standouts like the Jester (Aibar Toktar), the swans themselves, and the Spanish, Hungarian, and Neopolitan soloists delighted. Toktar’s performance as the playful jester particularly won over audiences but did not draw out from the ensemble onstage energy to match his performance and the chemistry that sizzled between him, and the crowd fizzled onstage.
Askarova is genuinely mesmerizing in movement with an astounding grace that is unfortunately at times underscored by her partner’s awkwardness and both the show’s highs and lows suffer for their lack of chemistry. Just as their love duets lack a convincing eroticism, the ballet’s darker moments are skated over to the detriment of its overall storytelling efficacy. What it gains in palatability it sacrifices in clarity. Theatergoers hoping to introduce children to ballet in this comparatively gentle environment should be sure to explain the plot beforehand as the complete dismissal of any severity from the choreography at times muddles the narrative just as the underwhelming lighting design muddied more than illuminated the performances.
The diminutive but competent orchestra too was a notable highlight of this production with particular skill being visible in its conductor and percussionist. The timpanist’s verve was a joy to watch and listen to and the placement and lighting of the instrumental ensemble make this production a particularly good fit for introducing children curious about music, dance, or theater to the interweaving of these art forms in ballet’s live performance.
Gaining in accessibility what it sacrifices in immersivity, Yassaui and Sophie Mergaliev provide a comfortable evening’s worth of entertainment and education. Their company will present The Nutcracker at Richmond Theatre on Friday and Saturday of this week.
Reviewer: Kira Daniels
Reviewed: 11th January 2023
North West End UK Rating: