Review: Swan Lake (Birmingham Hippodrome)

Review by Angel Nield

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Swan Lake is one of those stories that seems to have transcended every art form and found its place at the forefront of public knowledge. Inspired by German folk tales, the original production was written in 1875 by the great Russian composer Pyotr Ilyich Tchaikovsky and choreographed by renowned Czech choreographer Julius Reisinger for the Bolshoi Ballet. Unfortunately, the original 1877 production was so poorly received by critics for being too complicated and unimaginative that it took almost 30 years for the show to be revived. Luckily, the revival was met with commercial success and became the framework of nearly all successive productions that followed, including this run at the Birmingham Hippodrome. 

The story begins following the death of the King, where his son Prince Siegfried will be crowned and must find a wife at only 21. After his friend presents him with a crossbow in order to cheer him up, the two men follow a flock of swans only to discover they are a group of young women cursed by a dark sorcerer (Von Rothbart) to only return to their human form between midnight and dawn. Siegfried falls in love with the Swan Princess, Odette, and vows to free her from the enchantment by swearing an oath of undying love to her as one who has never loved before. 

Birmingham Royal Ballet’s 2026 interpretation is directed and produced by Sir Peter Wright, whose use of intricate visuals create a perfect marriage between the ethereal and the realistic. The production opens with dramatic strength at a funeral procession following the King’s death; the image of a line of dancers draped in rich black costumes gliding across the stage as if in the depths of mourning really cements the mood of what is to come. The first act undulates significantly between high energy moments of celebration amongst the friends at Siegfried’s 21st birthday to the slower, deeper and more somber moments of grief and heaviness hitting the Prince as he remembers the responsibilities he now bears before swinging back to joviality as he attempts to avoid them. 

The rich visual imagery really comes into its own at the close of Act III, when Von Rothbart cruelly reveals a grand deception to the entire palace, and Odette is shown to be watching in devastation through the window. A chaotic storm of strobe lighting (designed by Peter Teigen), haze, discordant orchestrations and overwhelming ensemble choreography really cleverly visualises the highly visceral inner turmoil Siegfried is facing. In contrast, the final Act V opens with the stage covered in haze with the female artists rising from a seated position on the stage to give the impression of the Swan Maidens awakening on a pond surrounded by a dense fog.

The complex dual roles of the Swan Princess Odette and the sorcerer’s daughter Odile were played at this performance by Momoko Hirata, who has been with the company since 2003. Hirata is an exceptionally skilful performer and storyteller with the most beautiful expressive arms, and has such a captivating energy that you are immediately drawn to her the moment she enters the stage. Her unique ability to play two completely contrasting characters with no crossover, for me, was the true highlight of the performance. As Odette, Hirata’s exquisitely soft graceful armlines, lowered eyeline and soft smiles capture the demure, reserved and compassionate Swan Princess longing for love and freedom; in contrast, Odile’s much more direct eye contact, sharper arm movements and self- assured smirk whilst dancing at the reception with Siegfried really highlights her confidence in her father’s deceptive and cunning plan. 

Mathias Dingman, who joined the company in 2006, performed the principal male role of Prince Siegfried at this performance. A powerful performer, Dingman played this role with masculinity, grace and passion. Both Hirata and Dingman allowed for natural chemistry and connection to develop between them, which really helped the believability of their relationship to come through in their first meeting and initial duet variations throughout Act II. Dingman’s strength as a performer is especially evident during the Pas De Deux variations throughout Act IV, where a series of complex lifts and the iconic 32 fouette (turn) sequence make Hirata almost seem weightless. 

With £250,000 of the BRB’s £17.6 million annual budget spent on footwear alone, it's very clear that the costume budget for Swan Lake is money very well spent. The richness of the fabrics used and the level of detailing on each individual piece, especially during the palace scenes, really put emphasis further on just how visual a production this is. From real feathers on the Swan Maidens’ elaborate headdresses, to the contrasting costuming of the three entourages accompanying the Hungarian, Polish and Italian princesses in Act III, to the bird of prey-inspired mask and dark feathered headgear worn by von Rothbart, it's clear that costume designers in the Royal Opera House production department left no stone unturned and no expense spared in immersing the audience fully within the world created within the production. 

The real gem with any ballet revival is the music, and Swan Lake is definitely no exception to this. What makes this production standout is the perfect symphony of the aforementioned visual imagery and the intricate compositions that really carry the mood and storyline throughout. From the iconic harp motif (played expertly by Susan Blair) to the instantly recognisable Cygnets variation, each piece is instantly distinguishable from the last and immediately sets the mood and intentions which makes the storyline clear and fairly easy to follow along during its almost three hour run time. From louder, faster and more aggressive themes during Von Rothbart’s variations, to slower, lighter and softer string and flute based themes for the Swan Maidens, each unique character is explored to their full depth through Tchiakovsky’s timeless compositions. 

An intricately detailed revivial of a timeless masterpiece, Birmingham Royal Ballet’s Swan Lake explores the classic tragic love story against richly ornate oil painting of grand sets, magnificent costumes, spellbinding orchestrations and elegantly intricate choreography to create an immersive wonderland to lose yourself in for a few hours. With an iconic hummable score and an instantly recognisable story, this utterly beautiful production will be left waltzing around your brain for weeks to come. 

Swan Lake plays at the Birmingham Hippodrome until October 3rd

Tickets available at https://www.birminghamhippodrome.com/calendar/brb-swan-lake-four/

The production then runs at Sadler's Wells from October 28th to October 31st

Tickets available at https://www.sadlerswells.com/whats-on/birmingham-royal-ballet-swan-lake-2026/

Photos by Clive Booth