Matthew Bourne’s Swan Lake: The Next Generation was reviewed at the Milton Keynes Theatre where it continues until 19 April. The tour continues until 9 November 2025.
Star rating: five stars ★ ★ ★ ★ ★
Matthew Bourne’s Swan Lake, which has swooped into Milton Keynes Theatre this week, is more than just a radical reimagining of a classic – it’s a ferociously beautiful, emotionally charged work of art that continues to soar 30 years after its explosive debut. With its iconic all-male swan corps de ballet and psychologically rich storytelling, this production still feels daring, dangerous and heartbreakingly relevant.
Bourne’s vision unravels from the opening scene with cinematic clarity and a striking sense of unease. Gone is the traditional fairy tale princess and enchanted lake, and in its place is a tortured Prince, performed by James Lovell, who is suffocated by duty and ignored by his distant mother. As he spirals into a world of desire, repression and longing, the famous White Swan, the embodiment of his turmoil, is brought to life with electrifying intensity by Jackson Fisch. His Swan is not a delicate creature of grace, but a muscular, raw force of nature that is unpredictable, fierce and magnetic.
Lez Brotherston’s lavish set and opulent costume designs are a character in themselves, as the show glides effortlessly between sterile palace life and the surreal, seductive underworld of the swans. All the senses are brought to life with the carefully placed lighting by Paule Constable and the video and projection design of magnificent swans by Duncan McLean. Every scene is a masterpiece, with my favourite being the grotesque glamour and seediness of the infamous nightclub in Act II, which, combined with the modern dance moves, is as thrilling to watch now as it must have been when it was first staged in 1995.
However, what makes the show so unique is the all-male swan ensemble, clad in feathered trousers, stomping bare-chested across the stage. They defy ballet’s usual rules of elegance and instead radiate menace, power and primal beauty. While retaining echoes of Tchaikovsky’s traditional ballet, the choreography is contemporary with flapping arms, animalistic charges and desperate embraces that viscerally depict the Prince’s internal battle.
Tchaikovsky’s original score remains untouched, but the familiar melodies take on a new dimension when paired with the Prince’s unravelling. It’s no surprise that the audience responded with a standing ovation, as it’s hard not to be moved by the show’s spotless performances and sheer power. Bourne’s adaptation has stood the test of time and perhaps become even more relevant with its haunting ending of a man destroyed by the constraints of society as he struggles with his identity. It’s raw, beautiful and mesmerising to watch.
With humour amongst the emotions, this show delivers everything and more. Matthew Bourne’s Swan Lake is an experience that I encourage everyone to witness. Combining incredible dance with theatrical prowess, it’s an unmissable production I won’t forget for a very long time.
Hannah Grimmette
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