Swan Lake – State Ballet of Georgia

A dream, shimmering with beauty.

Nina Ananiashvili, artistic director of the State Ballet of Georgia, was herself a renowned performer of both Odette and Odile. She was celebrated for bringing character to the roles, rather than relying solely on the expressive hand gestures traditionally associated with classical ballet. Now at the helm of the company, it seems that this is the direction in which she has taken Swan Lake.

I wouldn’t go as far as to call it dance theatre; however, this is certainly a more expressive and accessible version of the classical ballet. The story is told with clarity and feeling, making it easy to follow even for those unfamiliar with ballet traditions.

This gentle updating is woven throughout the production. The set keeps a classical appearance, but is enhanced by clever touches, including the use of gauze to create a wonderfully dramatic opening scene. Trees form the stage tabs around the lake, while curved buttresses give the palace a sense of grandeur. Everything looks much as it might in a traditional ballet, but with a slightly more realistic, contemporary edge.

Visually, this is a ballet of dreams. Soft, gentle pastels and delicate sequins shimmer across the costumes, each one beautiful in a subtle way that makes you want to spend hours gazing at the details. They play wonderfully in the light, resembling softly washed watercolours and tying perfectly into the classical backdrop of castle and lake.
David Monavardisashvili’s beautiful Baroque-inspired set and Cyrille Gassilline’s delicately shimmering costumes create a production that feels like a fairytale brought to life.

Among the flock are also a couple of black swans, not Odile – part of the wider ensemble, their tutus shimmering like oil with an iridescent gleam. This unexpected detail adds variety without disturbing the production’s dreamy visual world. Baron von Rothbart, meanwhile, appears very different, his darker costume and red jewelled eye glinting ominously beneath the lights. Marcelo Soares gives the villain a strikingly sinister presence, making the most of Rothbart’s unusual physicality.

The famous Dance of the Little Swans is always a crowd-pleaser, and so it proved once more. Yet it was the larger flocking sequences that I found particularly mesmerising. The synchronisation of the swans is what truly sells this ballet. They twist, fold in upon themselves and circle into spirals, repeatedly creating recognisable swan motifs. At times the entire corps de ballet seems to move as one living creature.

The production is old-fashioned and romantic, yet carries a modern edge. Its increased expressiveness allows the storytelling to come through clearly, while never losing the discipline or beauty of classical ballet. The dancers do not simply perform the steps: they make the emotions and relationships readable. Leading the press-night cast, Nino Samadashvili brought a compelling contrast to the dual role of Odette and Odile, moving from Odette’s gentle vulnerability to Odile’s seductive confidence. Opposite her, Oleg Ligai gave Prince Siegfried a suitably romantic presence, their partnership bringing clarity and feeling to the ballet’s central love story.

The live music was another joy. The Royal Ballet Sinfonia, conducted by Levan Jagaev, brought Tchaikovsky’s familiar score vividly to life. Ballet and orchestra worked together beautifully, with the music heightening both the romance and the darker moments of the story.

After the interval, the palace ballroom introduces dances representing different national traditions. The heel-clicking choreography brought energy and character to the scene, while the Spanish dance, with its flamenco flavour, was an obvious crowd-pleaser.

Not every moment worked quite as smoothly. Some scene changes felt rather long, particularly when, as far as could be seen, only chairs and benches needed to be moved before the flown scenery came into place. Rothbart’s defeat, through the apparent ripping off of his wings also seemed a little brutal within such an otherwise dreamlike production.

The final transformation is handled with refreshing simplicity. Odette and the enchanted swans become human once more, removing their tutus to reveal delicate slip dresses beneath. It is not presented as an enormous theatrical “wow” moment, but perhaps that is why it works: the quiet simplicity is all that is needed.

This is an accessible Swan Lake and one sure to capture the hearts of younger audience members as well as seasoned ballet-goers. One patron did bring a baby whose noises occasionally distracted from the performance, although the surrounding audience members repeatedly shushing did little to help matters.

Ultimately, this is a romantic, visually enchanting production that respects the traditions of Swan Lake while allowing the storytelling to breathe. It feels dreamlike yet emotionally clear, proving that classical ballet can be made more accessible without sacrificing its beauty.

*****