Swan Lake

As the curtain rises on The Australian Ballet's revival of Stephen Baynes' Swan Lake, a confusing prelude unfolds. Prince Ziegfried (Adam Bull) is haunted by the memories of his father's funeral (we're glad we read the synopsis), but this scene seems rushed and our eyes are too busy admiring the fairytale universe created via Hugh Colman's breathtaking design. Once we're transported to the palace gardens, Baynes' intricate choreography speaks to every nuance of Tchaikovsky's sublime score. As potential fiancees are paraded before the Prince, awkward arrivals from The Bachelor spring to mind. But Swan Lake is all about the swans and we eagerly anticipate the 'white acts' (two and four).

The shimmering lake doesn't disappoint and visuals of a swan flying towards us bring the cyclorama to life. Amber Scott is exquisite as Odette (although her Odile could be more spirited/sinister). Her undulating port de bras? Mesmerising. The flock of swans are perfect mirror images, but one cygnet is a fraction out tonight. Moving formations would look spectacular from the dress circle.

During Act III, the Russian Princess dance — which effortlessly incorporates a floaty piece of fabric — is the perfect vehicle for dancer-to-watch Valerie Tereshchenko. There are a couple of unfortunate slips during the second half and, bizarrely, our villain (Brett Simon as Baron von Rothbart) is booed during the curtain call.

While this visually stunning production showcases the technical virtuosity of this world-class company, the performances don't demand one's total emotional investment.