SWAN LAKE Leeds Grand Theatre 17 - 26 June 2021 A BALLET BY DAVID NIXON OBEWelcome David Nixon OBE Artistic Director David Nixon OBE. Photo Simon Lawson. Cover: Hannah Bateman and Javier Torres in Swan Lake. Photo Guy Farrow. Dear audiences, we heartily welcome you back to our tour. As I write this, following one of the most challenging years our industry has ever faced, there is a palpable sense of optimism and excitement that the light is finally at the end of the tunnel and better days are just around the corner. Indeed, it feels like a victory that I am writing this note knowing it will be read by audiences attending our first tour since autumn 2019. Through the darkest days of lockdown, at Northern Ballet we have found opportunities to let our creativity shine a light. Without the tour demanding most of our time and resources, our programme of digital films has grown exponentially in unexpected and wonderful ways. However, performing live in front of an audience is in our blood; at the very core of why we do the job we do. We are still limited in terms of the productions we are able to rehearse and perform whilst adhering to the safety measures we have in place to protect our company. In Salford and London, we performed an adapted version of Dangerous Liaisons which was also a big success when we were able to revive it for a brief number of performances at Leeds Playhouse in October 2020. Contemporary Cuts 2021, performed in London only, is a fantastic programme of our most popular contemporary short works and excerpts from full-length productions. This programme includes Kenneth Tindall’s States of Mind which was our first stage production to be created entirely during lockdown. Finally, we have returned to Leeds Grand Theatre, one of our home venues, with our unique interpretation of Swan Lake. Although the tour this season will only reach three venues, we are just thrilled that even this short tour has been possible. We have bigger plans afoot for another tour later in 2021 that will see us return to more towns and cities that we have missed visiting a great deal. I do hope that circumstances for us all will continue to improve in the coming weeks and months. Once again, I would like to thank each and every one of our supporters, audience members, staff and freelancers for all you have done over this difficult period. I would also like to thank the students from our Professional Graduate Programme and English National Ballet School for supporting us with their participation in Swan Lake. Continue to stay safe everyone. Enjoy these performances and we will be back again soon. 2Production supported by SWAN LAKE Choreography and Costume DesignDavid Nixon OBE Set DesignDave Gillan Lighting DesignPeter Mumford Tour LightingAlastair West Dramatic AssociatePatricia Doyle MusicPyotr Ilyich Tchaikovsky Music DirectorJonathan Lo OrchestrationJohn Longstaff Music played live byNorthern Ballet Sinfonia Revival Restaging Daniel de Andrade Yoko Ichino Christelle Horna Creative Team Hannah Bateman and Javier Torres in Swan Lake. Photo Guy Farrow. Audio Description supported by 3Dave Gillan SET DESIGN Dave is a Fine Art Graduate of the Duncan of Jordanstone College of Art Dundee, specialising in sculpture. He first began working as a scenic artist with Welsh National Opera and has since worked extensively in opera, ballet, TV, theatre and film. He has worked on several Northern Ballet productions including Dracula. Peter Mumford LIGHTING DESIGN Peter trained as a stage designer at Central School of Art in London and has worked extensively in the UK and Europe on numerous award-winning opera and theatre productions. He has won many awards for his work including the Olivier Lighting Award for The Bacchai (National Theatre) and a Knight of Illumination Award for Sucker Punch (Royal Court). He has also designed lighting for Northern Ballet’s Madame Butterfly, Peter Pan and A Tale of Two Cities. Alastair West TOUR LIGHTING Alastair graduated from Bretton Hall in 2004 with a degree in Performance Design and Production, having specialised in Lighting Design. He is currently Head of Lighting for Northern Ballet where he has designed for multiple full-length and short works for the Company including most recently Geisha. David Nixon OBE CHOREOGRAPHY & COSTUME DESIGN See page 13. Creative Team Patricia Doyle DRAMATIC ASSOCIATE Patricia trained at the RADA and worked as an actress with the National Theatre, Royal Court Theatre and the Royal Shakespeare Company as well as in repertory, radio and television internationally. She has numerous director credits for theatre and short film, and has a long association with Northern Ballet where she has worked on some 15 productions including most recently The Great Gatsby and Cinderella. Pyotr Ilyich Tchaikovsky MUSIC Tchaikovsky was born in Russia in 1840 and studied at the St. Petersburg School of Jurispudence, becoming a clerk with the Ministry of Justice before attending the newly opened St. Petersburg Conservatory. After graduating, he began to compose and completed his first ballet score, Swan Lake, in 1875 before going on to compose more of ballet’s most recognisable and best-loved scores, still popular today, until his death in 1893. John Longstaff ORCHESTRATION John was born in Lancashire and educated at Girton College, Cambridge and Guildhall School of Music and Drama. He has worked with numerous opera and ballet companies, including some 20 full-length productions for Northern Ballet, as well as being arranger and musical director for three of the Company’s children’s ballets; Ugly Duckling, Three Little Pigs and Elves & the Shoemaker. For full biographies visit northernballet.com/swan-lake 4Northern Ballet dancers in Swan Lake. Photo Emma Kauldhar. 5The Story Prologue The lakeside of Anthony’s family estate in New England In the middle of the night, young Anthony and his brother Steven have stolen from their beds determined to swim in the lake. Steven, thinking better of the night swim, tries to stop Anthony but ends up watching him disappear into the black pool. Mistaking the quiet for a problem, Steven follows his brother. Anthony climbs out to discover Steven gone and starts calling his name. The household, awakened by the boy’s cries, come running to the lake. A search ensues but Steven is lost. In the midst of her grief, Anthony’s mother accuses her son, realising her folly too late. The loss of his brother and the guilt now imprinted upon him forever, Anthony flees the scene. Act I The last summer of youth, 1912 A grown-up Anthony gazes out into the lake. He has not been swimming in the lake since that night but remains obsessed with its allure. His college friends, including his best friend Simon, arrive to spend the afternoon with him. Anthony’s mother and father, with several young ladies, join the picnic by the water. With them is Odilia, a close friend of both Anthony and Simon. The pleasant moment is broken as Anthony observes his mother’s tears recalling that dreaded night at the lake and an exchanged glance reminds both of the tension that has never disappeared. Unable to let go of his guilt he withdraws into himself. The young people enjoy the afternoon and leave for home, except for Odilia, Simon and Anthony. Simon returns to the jetty leaving Anthony alone with Odilia. The uncomplicated ease of their relationship is broken as Odilia reveals her feelings for Anthony. Anthony’s reaction embarrasses her and she runs from the lake. The revelations of the afternoon are not over as Simon and Anthony discover a new side to their relationship. Anthony is frightened and confused. Simon leaves Anthony alone by the lake. Determined to face the fear and attraction of the lake, Anthony returns to the jetty’s edge. As he gazes into the watery mirror a creature rises up into his arms. The creature, Odette, emerges from the reeds and Anthony is drawn irrevocably to her. Holding her in his arms he feels an unknown joy and freedom. Odette slips from his grasp and is replaced by many more of the swan-like creatures. Patiently he awaits her return and is soon rewarded with her once again sliding into his arms but, as dawn draws near, the women melt into the mist and Anthony is gone. Simon returns looking for Anthony and is surprised to see him climbing from the lake. Simon is shocked at the transformation in his friend and Anthony struggles to understand his return to reality. 6Act II Late autumn, Anthony’s coming of age party Anthony is alone in his bedroom. His mother enters with a birthday present for her melancholy son. Simon interrupts them and Anthony’s mother leaves the friends alone. Anthony greets his guests, whose company he has hidden from these past months. The evening transforms with the arrival of Odilia back from her travels abroad. Her confident entrance and radiant beauty catch everyone’s attention. Anthony gazes as if for the first time upon Odilia who, in her glittering white gown, conjures up the image of his swan. The rest of the world stops as Anthony, Simon and Odilia become involved in a dance. The fiery display comes to an end and the rest of the party join in. Simon advances upon Anthony under the horrified gaze of Anthony’s mother. Responding wildly, Anthony pushes Simon away and, not willing yet to face his mother’s disappointment, publicly declares his love for Odilia. Act III In Anthony’s bedroom a desolate Odilia watches as Anthony gazes madly upon the lake and paints wild images. She pleads with him to be her husband and to love her. Though he makes a futile attempt he finds it impossible and returns to his painting. Simon arrives in the room to witness the true state of his friend’s marriage. He tries to comfort Odilia who runs from the room. Alone with Anthony, he forces him to face reality and put an end to these strange thoughts. Once again, in a heightened state of emotions, Anthony and Simon are drawn to each other. On returning to the room, Odilia discovers the intimacy of her husband and best friend. All is now lost and Anthony leaves his friends in search of Odette. Anthony returns to the moonlit lake, the night animating the water in a vision reflecting his grief. Odette appears as if once more drawn to his emotional state, this time calling him into the water. Losing himself in her arms he struggles between returning to life or surrendering to his wild nature. Finally he becomes the bird, free to plunge the depths of the water and find resolution. Characters Anthony A young man. He is haunted by a tragedy from his past and confused by his feelings for his two close friends. Simon Anthony’s best friend. He competes with Odilia for Anthony’s affection. Odette A mystical swan- like creature. She emerges from the lake bringing comfort and peace to Anthony. Odilia Anthony’s close friend and later his wife. She yearns for Anthony to love her and commit to their marriage. Anthony’s Mother Anthony’s domineering mother. She blames Anthony for the death of his brother in their youth. Photos Emma Kauldhar. 7The Depths of Romance Swan Lake is perhaps the most famous of all classical ballets. My first Swan Lake to both see and perform in the lead role was Erik Bruhn’s version for the National Ballet of Canada. I loved it and being the last Siegfried to be totally prepared by Erik will always remain a priceless treasure. By today’s terms this production was fairly traditional and tame but in its day, controversial for expanding the role of the Prince and transforming the character of Rothbart the sorcerer from a man, to a woman. Over the years, I danced in many versions and have seen countless others – all different, all searching for their personal voice and all continuing the history of this masterpiece in some new and fascinating way. It is perhaps part of the magic of Swan Lake, this ongoing interest by choreographers to reinvent this iconic ballet and to find new meanings and adaptations within the original. It is important for any ballet company to perform a version of this work and to do so in a manner most befitting its size and resources. This ballet, more than any other, develops in the women a greater sense of unity, more graceful port de bras and breath in their dancing. This continues to be relevant and always will be. The main aim of Patricia Doyle and I was to make a more contemporary story, whilst retaining the traditional elements. It is a romantic tale and needed a time in history noted for this quality yet, in some ways, contemporary enough to involve believable people. We settled upon the last days of the Belle Époque, a time of long lazy summers before the world changed. The story also incorporates the dark nature of romantics, who live in the realm of imagination where the impossible is possible, even if only in the mind. It is this characteristic of our leading man that is crucial to the realisation of the story. I wanted to open up the emotions brewing under the surface of young people not yet sure of who they are or what they want. We created a love triangle, young intimate friends who find one day that lying together on the grass inspires new feelings which ultimately transform their lives. In a romantic person, these emotions are more intense and can lead to a dangerous resolution. We also wanted to understand our main character’s connection to water and why it holds his ultimate destination. The story therefore begins in childhood with the loss of a beloved brother in the lake and the agony and guilt that the survivor carries into the future. The lake and the water become a mythical draw to our lead character, enticing him ever deeper into a dangerous world of dark imaginings. The swan that appears to captivate our main character is danced by a woman but is not necessarily so – she is simply a manifestation of a swan. Is the swan his ideal of women, his true love, his lost brother, or himself? These are questions I leave for you to answer. For a true romantic, love is never a happy ever after tale but is always full of pain and ultimate tragedy. The romantic lives between the worlds of reality and fantasy, and knows that ultimate passion always lives within the confines of danger and time restrictions. The romantic must also live in the peak of passion, an emotion that is unsustainable over time. The end of our story is determined from the moment our young character loses his brother. His emotional relationship to both the loss and the tragedy of this event remain firmly imprinted, waiting for the moment to come forward. He is therefore receptive to his dark romantic nature which is triggered by his sexual awakening and ultimately destroys his friendships. David Nixon OBE 2016 8Martha Leebolt in Swan Lake. Photo Emma Kauldhar. 9Next >