The famed Preljocaj Ballet from Aix-en-Provence previously appeared in Brisbane in 2016 with a reworked telling of Snow White, as part of Queensland Performing Arts Centre’s (QPAC) acclaimed International Series. After nine years, the company returns for an exclusive Brisbane season of a dystopian and relevant contemporary interpretation of one of the best-loved ballets, Tchaikovsky’s Swan Lake.
Angelin Preljocaj, who founded the company in 1985 and is its director and choreographer, is renowned for his deconstruction of some of the great narrative ballets. Famously saying that Swan Lake is the “Everest of ballets”, he left his reinterpretation of this classic work until he felt able to give it the “audacity and respect” it deserved. And he has given it just that with this clever, intelligently reconfigured rendition.
Preljocaj’s Swan Lake has as its premise a vision of corporate development juxtaposed against environmental survival, turning this familiar ballet story on its head to highlight the major existential crisis facing our current world. This fascinating take on Tchaikovsky’s classic story does not stray too far from the original either, with its central love story of a young woman turned into a swan. Though knowledge of the original is advised.
Here, Prince Siegfried (wonderfully danced by Antoine Dubois in one of the double casts) is the disillusioned son of a mega-wealthy property developer. His father (Romain Renaud) and mother (Agathe Peluso) have greatly increased roles in this version and both performances are excellent. His father’s colleague, greedy industrialist Rothbart (powerfully presented by a vengeful Redi Shtylla), is also a sorcerer and viewed as the nemesis of a future world. Falling in love with Odette (ravishingly danced by a fragile Théa Martin), Siegfried plans to save her and the swans from their enslavement. While convinced through Rothbart’s sorcery that his daughter Odile (Théa Martin, assured and dynamic in her second role) is actually Odette, he comes to realise the mistaken identity all too late.
Preljocaj has reshaped the essence of Pepita and Ivanov’s original choreography quite radically, offering a powerful contemporary choreographic framework for his narrative. With its sharply defined geometric lines and precise physicality throughout the ensemble scenes, Preljocaj reverts to more traditional classical ballet in intimate pas de deux and soloist scenes. Siegfried’s two wonderful pas de deux with first Odette and then his mother are both graceful and poignant.
The swan scenes are magically staged and exquisitely danced, the V-shaped formations of bodies gyrating in bird-like shapes depicting graceful necks and organically fluid limbs. Preljocaj adds humour and fun, especially through his four crossed-armed and wobbly-bellied cygnets. Raucous party scenes with angular precision offer scenes of decadence and debauchery that contrast with the environmental purity of the swan scenes.
Tchaikovsky’s score is reduced from a playing time of three to two hours, with added extracts from the composer’s symphonic works. Played by Queensland Symphony Orchestra under the strong baton of Johannes Fritzsch, the score also includes vibrant contemporary electronic music by studio 79D. As with the contemporary choreography, this addition is never jarring, but rather offers a blend of modern and traditional, creating an accessible and inspiring reworking of the original.
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Assisted by video design and stunning projections by Boris Labbé, the audience witnesses water lapping on the swans’ lake, landscapes with rustling trees, cityscapes with birds flying, screens of spinning data and visuals portraying both urban and natural worlds. The production is complemented by splendid costumes from Igor Chapurin. A black leather-coated Rothbart, elegant-frocked mother and sharp-suited father are balanced by colourfully dressed party scenes and the delightful white-skirted, feathered swans. Atmospherically and evocatively lit by Éric Soyer, the whole is aesthetically pleasing and brilliantly realised.
Ballet Preljocaj: Swan Lake with Queensland Symphony Orchestra
QPAC International Series 2025
Presented by Queensland Performing Arts Centre
Choreography: Angelin Preljocaj
Music: Pyotr Ilyich Tchaikovsky
Additional Music: 79D
Video Design: Boris Labbé
Lighting: Éric Soyer
Costumes Design: Igor Chapurin
Queensland Symphony Orchestra conducted by Johannes Fritzsch
Dancers (alternate principal casts)
Cast on 3 June, 4 June 7.30pm, 5 June: Mirea Delogu, Leonardo Cremaschi, Lucile Boulay, Erwan Jean-Pouvreau, Elliot Bussinet
Cast on 4 June 1.30pm, 6 June, 7 June: Antoine Dubois, Théa Martin, Agathe Peluso, Romain Renaud, Redi Shtyll
Ensemble: Teresa Abreu, Isabel García Lόpez, Afonso Gouveia, Eva Gregoire, Laurent Le Gall, Zoё McNeil, Ygraine Miller-Zahnke, Ayla Pidoux, Mireia Reyes Valenciano, Owen Steutelings, Micol Taiana, Celian Bruni, Araceli Caro Regalόn, Alice Comelli, Lucia Deville, Chloé Fagot
Ballet Preljoca: Swan Lake will be performed until 7 June. Regional screenings are showing free of charge at 17 centres throughout Queensland between 13 and 15 June.
