Courier Mail, Australia
by Olivia Stewart
THERE are many amazing things about Swan fate on Ice but one of the most surprising is that no one has done it before.
What better medium to project the illusion of grarefully gliding swans? And under the innovative artistic direction and choreography of Tony Mercer characters also magically fly - not just in split-second jumps and throws but circling, swirling and spiralling above the stage.
Even without such dramatic and daring spectacle, however, The Imperial Ice Stars production sets itself artistically and athletically far beyond others of its ilk that rely mainly on novelty value.
This is despite hazing only a quarter of the usual performing spate (which is probably just as well considering our Level 3 water restrictions and the rink using 14,000 litres of water).
The cast of 25 accomplished figure skaters performs difficult manoeuvres we usually only see at the Winter Olympics, plus some we don't.
The restricted space and proscenium arch add an extra element of risk, courage and excitement as the skaters zoom across the ice at breakneck pace and execute double and triple revolution jumps, plus more unexpected acrobatic moves such as backflips and somersaults (four-time Olympic gymnastics gold medallist Alexei Nemov has been a coach).
There's a breathtaking array of extraordinarily difficult and inventive lifts. Some of the overhead one-arm presses - such as a male balancing a female skater in full splits - or where he supports two dancers draped across his body, would be impressive on solid ground in a ballet a circus, let alone on a pair of ice skates.
With a Romanov setting reflecting the era of Swan Lake's original creation, the design elements (set by Australian Eamon D'Arcy and costuming by Moscow's Albina Gabueva) are equally high calibre.
A ring of fire surrounding the evil sorcerer Rothbart (a commanding Anton Klykov) ups the dramatic tension, yet there's also plenty of fun and exuberance thanks to the irrepressible Roman Puleshchuk and Andrei Penkine interacting with the audience, and sections that have skaters zipping under and jumping over benches and pivoting across the stage on their knees.
While retaining the basic familiar storyline, Mercer has followed Tchaikovsky's initial intention of having two different women portray Odette/Odile (the softer Olga Sharutenko and the lithe Olena Pyatash) and has added a more modern ending reflecting a degree of self-empowerment (Odette actually lifts Rothbart at one Stage!). As such and because it's in a different genre, Mercer wants audiences to treat Swan Lake on Ice as a separate entity from the ballet and it undoubtedly stands alone as bringing something unique to the telling.
In fact, it's only the parts where the choreography invites a direct comparison by specifically referring to the ballet - such as when the women don pointe shoes or the celebrated, "white act" that might fall short for ballet aficionados by failing to match the precise lines that are so recognisable and effective.
This a minor in the overall success and there is an abundance of 'ooh, ahh' moments that had my friend and I voicing our excitement. The man next to me had no doubt 'It's better than the ballet'.