Review: Swan Lake (The National Ballet of Canada)

Karen Kain’s 2022 Swan Lake is back on the Four Seasons Centre stage with the National Ballet of Canada—but this time, Tchaikovsky isn’t the first thing you’ll hear. Instead, each performance opens with “O Canada.” On opening night, the audience sang loud and proud, embracing this unexpected yet thoughtful gesture—a reflective nod amidst current trade tensions between Canada and its southern neighbour, and perfectly fitting for a production created by Canada’s very own ballet sweetheart.

This newer production of Kain’s features choreography by Robert Binet and Christopher Stowell, along with significant borrowings from Erik Bruhn’s 1967 version, in which Kain herself danced as Odette. It replaces James Kudelka’s version, which had a long tenure at the company. Kudelka’s version, though beloved by some, felt ready for retirement—this fresh take feels appropriately timed.

In my books, this version doesn’t stray too far from traditional interpretations, nor does it need to—Swan Lake is as iconic as a ballet can get. However, Kain’s take does offer some subtle shifts. Women have slightly more agency, and notably, Odette survives the ordeal, breaking from the traditional tragic conclusion where lovers unite in death. Other well-known endings often see Odette and Siegfried choosing death together by drowning, or alternatively, defeating Rothbart with their joint sacrifice.

If I've jumped too far ahead, here's a quick refresher: Odette (Genevieve Penn Nabity) encounters the sinister, part-man, part-bird Rothbart (Peng-Fei Jiang) during a night in the woods with her friends. Rothbart curses Odette, transforming her into a swan by day. Prince Siegfried (Ben Rudisin), pressured by family duty to marry, meets Odette in the forest and falls in love. Rothbart, desperate to thwart their union, sends Odile (also played by Penn Nabity), Odette’s seductive doppelgänger, to deceive Siegfried. Despite Rothbart’s efforts, truth and love eventually prevail, though not without consequences.

In terms of performance, Penn Nabity, unsurprisingly, is a beautiful Odette—her technique is impeccable, with every detail artfully articulated. She is undeniably the company's current star, consistently captivating in classical and contemporary roles alike. For Ben Rudisin as Siegfried, however, it wasn't a strong night. Yet it's hard to critique such a gifted dancer harshly, especially coming off his recent standout appearance in the company’s mixed-bill program. He shines brightest in darker, contemporary works. Beyond the leads, this is truly an ensemble ballet, with the stage frequently filled to the brim with dancers whose elegant performances enhanced every scene.

The production delivers all the iconic moments ballet fans crave—the charming dance of the cygnets, the technically thrilling 32 counts of fouettés, and, of course, Tchaikovsky’s legendary score performed gorgeously by the orchestra under the skilled baton of David Briskin. Fun fact: Swan Lake was Tchaikovsky’s very first ballet commission—a remarkable home run for a first-time ballet composer. Yet sadly, he passed before he was able to witness the global phenomenon his masterpiece became.

Some criticism has emerged about the lavishness of Gabriela Týlešová’s costumes, though I personally disagree. If any ballet should embrace elaborate costuming with full tutus and abundant ruffles, it's Swan Lake. The rose and floral motifs do evoke Sleeping Beauty more than this production, but I still find they work effectively here. My only design critique concerns the lighting—I wish it were slightly brighter, as the ballet world does tend toward overly dim aesthetic.

Everyone should experience Swan Lake at least once, and clearly, audiences agree, as this run sold out quickly. Supporting a Canadian production is an added bonus. For those interested, standing-room tickets remain available; details provided below.

Swan Lake, presented by the National Ballet of Canada at the Four Seasons Centre for the Performing Arts (145 Queen St W, Toronto, ON M5H 4G1) is playing until March 22nd, 2025. Tickets are sold out but a limited number of standing room tickets go on sale at 11:00 am on the day of the performance. For more information, click here.

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Photo credits:

• Photo 1: Genevieve Penn Nabity and Ben Rudisin in Swan Lake. Photo by Bruce Zinger.
  
• Photo 2: Artists of the Ballet in Swan Lake. Photo by Karolina Kuras.
  
• Photo 3:  Genevieve Penn Nabity and Ben Rudisin in Swan Lake. Photo by Bruce Zinger.
  

Written by Deanne Kearney
DeanneKearney.com @deannekearney