Matthew Bourne, the man who wore pants on swans and invented ballet for the 21st century

-How did the idea for the 1995 version come about? What draws you to this story and to Tchaikovsky’s classic novel?

-Since 1987 I have been running my own company. Before “Swan Lake” it was a very small contemporary dance troupe, with about six dancers and a somewhat strange reputation. We have performed in small and medium sized venues across the UK. In 1992, I was commissioned by the Northern Opera in Leeds to perform a new “Nutcracker” alongside Tchaikovsky’s opera “Iolanta” (the two works had premiered together in St. Petersburg in 1892). It was a huge hit at the Edinburgh Festival that year, and opened the door for me to create a variation of another Tchaikovsky classic, Swan Lake, three years later. What attracted me from the beginning was working with that wonderful music without having to reproduce traditional choreography. It was a unique opportunity to try something new with this beloved title. It was amazing in so many ways, but I couldn’t resist!

—Why male swans and why this specific aesthetic?

– At that moment I felt that if I was going to do “Swan Lake”, I had to do it in a different way: my company is not classical, it is contemporary dance theatre. The idea of ​​male swans has been on my mind for a long time; It was almost a dream. I found it exciting and the more we explored it, the more interesting and more psychological it became.

– To what extent does this ballet seek to defend, conceptualize, or normalize homosexuality?

– When it was released, they called it “Gay Swan Lake”, although that was not the main goal: after all, it is a love story between a man and a swan, which is something very unconventional! But yes, that class was, and still is, important to gay audiences; We celebrate it. Sometimes it is underestimated how far we have come in this business. Homosexuality themes were now all over screens and stages, and accepted by a much wider audience. Today people do not feel scandalized; He finds the story of a young man lost about his future and sexuality, in search of his true identity, inspiring. It’s very important for young audiences today.

—The first chapter was obviously based on the British royal family of the time. Was it a nod to the viewers or were you looking for something more?

-My Lake never pretended to portray specific members of the royal family. It’s deliberately set at an unspecified time: it could be the 1950s, the 1960s, the 1970s… or even today or tomorrow. It’s the audience that decides if they want to see the similarities. That’s why there are no names in the program: only “Queen”, “Prince”, “Bride”… all intentionally ambiguous! For me, deep down, it’s someone’s struggle to figure out their identity and fit into their world, even if that world is completely unusual (few people are kings!). But we define the same thing: we all know the feeling of not being able to be yourself in the community around you.

—What are the main differences between the original version and the version we will see at Teatro Real? What prompted you to bring this show back?

-We’ve tweaked things over the years, but we always respect that a lot of people love the original production and its iconic performances. Anyone who saw the work from years ago and sees the current version probably won’t notice most of the changes and will feel like they’re seeing the same work. We know we’ve made hundreds of small adjustments. All the sets were redesigned by Lez Brotherston, many of the costumes were revamped and we benefited from the technical advances of the past 30 years. I also realize how the world has changed: what was funny or acceptable thirty years ago is no longer the same. The new dancers bring their own personality, as always, and this keeps everything alive and fresh.

– What does it mean to you to have your version appear in the movie “Billy Elliot” and what does it mean for the show?

—I’m proud to say that Billy Elliot is my fantasy band member! Five years after its premiere, appearing in this film was a gift to the international exposure of the production and my work. I will always be grateful! Cinema has greatly influenced my way of narrating; My performances are often described as cinematic. Some compare them to silent films: stories told with movement and expression, without words… but with good music, of course!

-He made versions of classics like “The Nutcracker” or “Cinderella.” Do you think classical ballet is going out of style or do you just want to tell it in your mother tongue?

—No, not at all; Classical ballet is the foundation and inspiration for much of what I do, although I think sometimes it can adapt to the times more quickly. Some theatrical or interpretive approaches seem distant to us, but with good direction, design and ideas, the great classics continue to work wonderfully well into the 21st century. My editions are not meant to compete with or criticize the originals; There is room for everyone. Of course, thirty years later, there are no ballets that show same-sex relationships. “Our Lake” remains one of the few and most watched dance works in history! Let other companies take note…

– How do you think your style has evolved in recent years? Does any discipline dominate your work: classical ballet, contemporary dance, urban dance…?

—My work usually has a strong narrative element through a mix of dance styles ranging from ballet to contemporary, social or historical dance. I call it dance theatre, and I see myself as a storyteller. The audience doesn’t need to know anything in advance; I don’t like summaries or summaries in the program. All you have to do is sit back and watch and the story will unfold clearly before your eyes.