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Swan Lake

Amber Scott in Swan Lake. Photo Jeff Busby

"a spectacular production of a traditional favourite"

"[Amber Scott and Adam Bull], who have created a notable partnership, looked spectacular. Bull has long, elegant lines and Scott is an ethereal beauty worthy of being carved in marble"
The Australian, 20 September 2012

*** (3 stars)
"plenty to enjoy… fans will love its familiar elements coupled with a handful of modern injections"
"Amber Scott's Odette is effervescent, vulnerable and seductive"
"Adam Bull as Prince Siegfried taps into the emotional complexity his role requires"
Herald Sun, 21 September 2012

*** (3 stars)
"some stunning performances, with standout dancing by Lana Jones and Dana Stephensen in Act 1 and Laura Tong and Rudy Hawkes as particularly wicked members of the villain Baron von Rothbart’s retinue"
The Age, 21 September 2012

**** (4 stars)
“[Lana Jones and Andrew Killian’s] prowess – and that of the supporting cast - gives hope for the future of the great 50-year-old Australian Ballet”
On Andrew Killian: “admirable jetés… Lana Jones must have been pleased with his sensitive partnering and numerous, secure lifts”
“Jones herself was ideally cast for the roles of Odette and Odile; she is the kind of ballerina that little dancers watch in awe and aspire to be”
“Jones brought a vulnerability and yearning to the part of Odette, a quality that lent much to her duets with Killian. As Odile, she gave an appropriately hard and calculating edge to her dancing, this time dazzling rather than charming, especially in the famous 32 pirouettes that mark the black swan’s triumph”
“The Australian Ballet has delivered a spectacular production of a traditional favourite”
“As always, there is strong support from the cast, with Chengwu Guo notable for his performance as Siegfried’s friend, Benno”
“This ‘real’ Swan Lake is a great finish to a landmark season”
ArtsHub, 21 September 2012

“The Russian dance is a particular highlight.... Robyn Hendricks’s dancing in this was exquisite with just the right mixture of light and shade following the nuances of the music”
“The quick footwork and weaving arms of the ladies’ solos was a style particularly relished by Dana Stephensen who shone in her solo”
“Adam Bull had the look of a danseur noble with his long lines and sustained turns”  
“Amber Scott undeniably possesses a special quality on stage – her dancing is marked by both elegance and a rare grace”
Dance Australia, 24 September 2012

“a stunning tribute and a fitting send off for the season”
“Everything about Swan Lake is flawless - the tragic romance, the superb choreography and elegant prose represented through elongated limbs and stunning movement”
“Every aspect of the show is transporting, from the sets and background pieces that immerse the audience in their world, to the extravagant costumes that highlight the differences between air, land and water or avian and woman”
Swan Lake is nothing short of a masterpiece and The Australian Ballet's latest interpretation lives up to the daunting prospect of this oft-portrayed piece”
“An absolute must for any ballet fan, Swan Lake will haunt you long after you have left the theatre, in the most pleasant of ways”
Australian Stage Online, 25 September 2012

“Stephen Baynes has conceived an elegant, streamlined production, which offers layers of enchantment as any good Swan Lake should”
“[Adam] Bull invests his stature with considerable nobility these days, and delivered a strong performance throughout. His contemplative solo at the end of Act I was particularly well-judged”
“[Amber] Scott makes perfect use of her elegant long lines and gave a smooth and precise performance”
“collective enthusiasm and many fine individual performances keep this Swan Lake moving and enjoyable”
“Former AB principal Lisa Bolte introduced a touch of despoiled loveliness as the impotent queen”
“Juliet Burnett deserved an Emmy for the withering look she shot Siegfried when he dismissed her as a prospective bride”
“Baynes’ choreography melds seamlessly around the Petipa/Ivanov centrepieces”
“later in the season, the corps de ballet provided a sublime backdrop for the performance led by Lucinda Dunn and Ty King-Wall”
“[Lucinda] Dunn’s Odette radiated warmth and had wonderfully fluid arms, while [Ty] King-Wall’s Siegfried was gentle and dignified… Their partnership made for an exhilarating Black Swan pas de deux as each fed from the other’s energy to stage a thrilling climax”
Dancing Times (UK), December 2012

“[Stephen Baynes] has produced an enjoyable evening of graceful dance in the classical style. It has decorative appeal well balanced between neatly structured ensembles and solos and duets that are sensitive and elegant”
“Amber Scott and Adam Bull were a strong partnership as Odette and the Prince”
“there were many notable performances by dancers including Ty King-Wall, Juliet Burnett, Robyn Hendricks and Brett Simon”
The Sydney Morning Herald, 3 December 2012

“sit back and let your heart melt”
“Company choreographer Stephen Baynes has beautifully reinvigorated the oldest ballet in the AB’s repertoire, paring it back to a more classical tradition where the focus is firmly on dance”
“Madeleine Eastoe (Odette) and Kevin Jackson (Prince Siegfried) are gorgeous to watch”
“the Cygnets (Brooke Lockett, Halaina Hills, Sharni Spencer and Heidi Martin) lay on some seriously hot footwork in their pas de quatre”
“The entire company is superb”
“Tchaikovsky’s hauntingly familiar score is such an important element in this performance and the Ballet’s chief conductor and music director Nicolette Fraillon does a fine job with her orchestra”
“Baynes’ version is a honed and dramatic Swan Lake which should please purists and romantics alike”
The Daily Telegraph, 4 December 2012

“a fresh, but traditional look at Swan Lake, indubitably the world’s best-loved ballet, bar none”
“a fittingly dignified decision for the AB’s 50th anniversary”
On Kevin Jackson: “impeccable and occasionally breathtaking precision”
“[Hugh] Colman’s costumes are superb”
“Madeleine Eastoe’s Odette is technically flawless (her dizzying succession of turns was thrilling)”
“[Madeleine Eastoe] is the very epitome of a slender, graceful swan and as light as its feathers. It’s not only easy to fall in love with someone who dances this beautifully, it’s inevitable”
On Von Rothbart’s entourage: “I was particularly invigorated by Brett Chynoweth and company’s scene”
Crikey, 4 December 2012

"[Choreographer Stephen Baynes] is such a master of sensitivity – of subtlety infused with substance – that this romantic fantasy strikes emotional chords instead ofjust separate notes of aesthetic beauty"
"achingly tender"
"hauntingly moving"
The Courier Mail, 26 February 2013

“The Australian Ballet’s latest rendition of the traditional Swan Lake is a breathtaking experience from the opening right through to the journey home.”
“Stephen Baynes’ choreophraphy showcases the dancers amazing ability and agility, whilst remaining true to the production.”
“The lead dancers in this performance, Adam Bull (Prince) and Amber Scott (Odette), have a chemistry that gives intensity to their moments together on stage, and they set the standard for the rest of the corps who rose to the occasion.”
“The soloists each hold their own in their individual showcases, and look to offer a great future of creative talent to the company.”
“Of course the lighting by Rachel Burke, and in particular the projections of the swans courtesy of Domenico Bartolo were divine, as were the costumes and set by Hugh Colman.”
“This much-loved production of Swan Lake is well worth the night out purely for its splendour and elegance, it is a testament to the artistic brilliance of David McAllister and The Australian Ballet, Bravo!”
Glam Adelaide , 6 July 2013

“Tall and lithe, Bull is commanding, with dead straight pirouettes, sky-high leaps and exquisite extension.”
“Scott has a bravura performance in this most taxing of dual roles, especially as Odile, when she was positively on fire”
“Brett Simon’s von Rothbart also captured the imagination”
“Baynes' ensemble is top notch, and the exquisite choreography for the swans lingers long in the mind, a sea of feathers tousled as in a gentle breeze”
“There are gorgeous sets and costumes by Hugh Colman and the Adelaide Symphony Orchestra is predictably superb under Nicolette Fraillon”
Adelaide Advertiser, 9 July 2013



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