‘Yes, but is it the real Swan Lake?’ a number of ballet fans asked me, before and after I attended the Australian Ballet’s latest production. They meant: was it Graeme Murphy’s ground-breaking vision or, horror of horrors, something Men in Pink Tights might do? The answer is that this is, in most respects, the traditional production that is for many their first experience of a full-length ballet: the lake, tutus, drifting swans, the evil magician, the dual role of Odette/Odile, the romantic duets. But with its own twists. Artistic Director David McAllister wrote in the lavish program of Swan Lake’s historic importance to the company, and the decision to finish the 50th anniversary season ‘with a brand-new traditional production’ of this seminal work. Choreographer Stephen Baynes decided to set the ballet in the 1890s to best realise the romanticism suggested by Tchaikovsky’s music. Under Nicolette Fraillon’s baton Orchestra Victoria delivered a superb rendition of Tchaikovsky’s score, by turns poignant, lilting and dramatic, and always sensitive to the action on stage. Prince Siegfried’s thinking is explored, the evil Rothbart is less of a pantomime character – and there are other changes. But the work retains the integrity that has given it the reputation of the world’s most popular ballet. The triumph of Hugh Colman’s set is the lake – an element that has let down many a lesser production. It shimmered darkly in the background and was the base from which wonderful lighting effects emerged. The costumes – whether 19th century dresses in soft yellows and blues, or gorgeous tutus – worked well with Baynes’ concept. (Except, perhaps for the palace guards whose headgear gave them the appearance of Roman centurions, a momentary distraction!). But of course the dancing was the paramount focus. While it can be disappointing to miss the excitement of the premiere (as I had to), on the second night the curtain was raised on slightly lesser-known stars of the company, with the two leads being principal artists for less than two years. Their prowess – and that of the supporting cast – gives hope for the future of the great 50-year-old Australian Ballet. Andrew Killian as Prince Siegfried appeared first as a mysteriously brooding character (a Baynes-introduced vignette explained why), but one could not help but notice that he possessed those classic requirements for a romantic hero, being tall, dark and handsome. As the ballet developed it was evident that Killian had other qualities, admirable jetés among them. In terms of conveying emotion, this Siegfried has yet to grow into the role – but 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. Her father, the evil magician Baron von Rothbart, was less well realised, appearing at the ball in the guise of a (rather seedy-looking) violinist, thus not inspiring any fear or awe. This was not the fault of the Rudy Hawkes, who danced the role well, but rather in the concept of the role. In the final scene, Rothbart lifts Siegfried’s body from the lake, but appears to do so with gentleness (probably of necessity!), and thus the last image of him is as a rescuer, not a collector of souls. At the same time, it is not clear from the action or the fleeting effects that ‘the soul of Odette is released by Siegfried’s sacrifice,’ as the program notes tell us. These small quibbles apart, 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 Sigfried’s friend, Benno. Forward bookings tell their own story. This ‘real’ Swan Lake is a great finish to a landmark season. Rating: 4 stars out of 5 The Australian Ballet present Swan Lake Choreography: Stephen Baynes Music: Piotr Ilyich Tchaikovsky Costume and set design: Hugh Colman assisted by Lexi George Lighting design: Rachel Burke assisted by Lisa Mibus Projections designed & directed by Domenico Bartolo (21-19) Arts Centre Melbourne, State Theatre September 19 – 28 Opera Theatre, Sydney Opera House November 30 – December 19