The Times
by DONALD HUTERA

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Among colleagues of mine involved in dance, the very tide of this production by the imperial Ice Stars has induced suspicion and a faint trace of ridicule. An ice show with aspirations to high art? You’ve got to be kidding. And yet on its own terms this version of the tale of a prince who falls for a cursed bird-girl really flies.
The show, which is touring the UK until June, can’t help but invite comparisons with its classical ballet source. Purists, be warned. Ringing novel changes on a familiar story, the director Tony Mercer uses a sometimes disconcertingly choppy rearrangement of Tchaikovsky’s score to suit a two-act format.
Here the flock of swans is on blades, not pointe shoes. Butt although the stage floor is covered in three inches of ice, the emotional tone of the performance isn’t frigid at all. Choreographed by a creative, team that includes leading skaters Olga Sharutenko (Odette) and Vadim Yarkov (Siegfried), this Swan Lake juxtaposes lyricism and athletic spectacle. The cast is composed of just over two dozen championship skaters, most of whom are Russian.
That the ensemble routines and string of national dances are so pleasing owes almost as much to the designs as to the skaters’ skills. Eamon D’Arcy’s sumptuous sets and Albino Gabueva’s stylish (and occasionally OTT) Romanov-era costumes are far more appealing than I’ve seen from some ballet troupes.
But there is more at work here than flashy attractions. To introduce dramatic motivation into a genre normally associated with sport or kitsch superficialities is no mean achievement.
The scenario is rendered in clear, broad and sometimes surprising strokes, as when Odette confronts Anton Klykov’s satanically elegant Rothbart rather than merely submit to his machinations. Mercer further subverts ballet convention by doublecasting Odette and Odile.
The flow of feeling between Sharutenko and Yarkov in their pas de deux is echoed in the latter’s partnering of Olena Pyatash’s sparkling not-so-evil Odile. The happy ending is hokey, but on a deeper level also strangely satisfying.

The Sunday Express, UK
by Andrea Hubert

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Long dismissed as deeply uncool, theatrical ice shows are undergoing a renaissance - thanks to a spectacular new production of Swan Lake. Andrea Hubert wonders whether this is the beginning of a new ice age…As theatre goes, ice shows have never flirted with the cutting edge of cool. In fact, the concept is more likely to conjure up images of Mickey Mouse twirling a baton round a giant rink while audiences shiver into their ski jackets, than a night of quality entertainment.But all that is about to change with the world tour of Swan Lake On Ice, the latest and most ambitious theatrical ice show from veteran British producers Tony Mercer and James Cundall. Riding on the success of ITV’s Dancing On Ice, which scored ratings of almost 11 million viewers earlier this year, the show will be filling the world’s finest performance spaces and looks set to take the UK by storm.

The idea of switching the ballet from the stage to the ice seems so obvious - what other surface would lend itself better to gliding lines of graceful cygnets - that you wonder why Swan Lake On Ice isn’t performed perennially. But when you look into the logistics, it’s not surprising that this well-loved story has stayed on terra firma - until now.

Swan Lake has taken two years from “page to stage”, as Mercer puts it, and the massive undertaking would be enough to halt a lesser producer in his tracks. The sheer scale of the preparation is mind boggling. Almost 14 tonnes of ice are used -that’s 14,000 litres of water, enough to fill more than 150 baths. And with 2,500 litres of antifreeze, huge ice machines generating enough electricity to run 45 radiators and a rink that takes 140 hours to build, it’s not surprising that many producers prefer to take their chance with the traditional ballet instead.

Indeed, Swan Lake On Ice will be Britain’s first theatrical skating show since 1942, when a production was staged but then abandoned because of an antiquated ice system. But fast forward sixty-four years and the genre is finally making a comeback - thanks to the drive and passion of Mercer and Cundall.

It was after seeing Torvill and Dean’s inspirational Face The Music tour in 1991 that Mercer decided to relocate to Russia to set up the Russian Imperial Ice Stars, a troupe of the world’s best professional skaters, with Cundall, his friend and co-producer. “When I saw Torvill and Dean perform, that’s when it hit me.” says Mercer. `I could see that the audience wished they could be more up close and personal to the skaters.” The pair went on to put on a production of Sleeping Beauty On Ice. It was supposed to run for nine months - but two years and 500,000 tickets later, audiences couldn’t get enough. “I realised then that we were on to something,” Mercer says. “Not just the fantastic reviews, but the sheer demand. It was time to move ice shows from their traditional, rather naff arena of the big sport rink. That’s simply not theatre. You can’t develop a genre overnight, but I really think now is the time for the ice theatre to come into its own.”

Olga Sharutenko, who will play the starring role. Odette, agrees: “It’s time ice skating theatre performances got the recognition they deserve. Swan Lake On Ice brings something unique to the story. The beauty of skating is the ability to simply glide across the stage in the graceful way one imagines the swan doing - it is like flying. Sometimes ice can tell the parts of a story that ballet can’t reach. It’s the best of both worlds.”

Having graced the ice since the age of three, the 28-year-old champion skater - who British audiences will recognise from our own Dancing On Ice. where she performed with actor John Barrowman - is at the cutting edge of her profession and the rest of the cast of Swan Lake On Ice is no less impressive.

Such is the reputation of Mercer and Cundall that they have attracted the cream of the crop to join the Russian Imperial Ice Stars. Between them, the performers have won an impressive 200 medals and are choreographed by the world’s top Olympic coaches. And it’s a testament to their skill and precision that many of the moves - usually not even attempted on a 60m x 60m rink - are seamlessly executed on the comparatively tiny 15m x 15m stage.

But those who are expecting a faithful reproduction of the ballet will be disappointed. “Ice dancing is a totally different medium to ballet,” explains Mercer. “Other producers want to transfer the stage show of Swan Lake directly to the ice and it doesn’t work. While ballet and skating are similar in terms of grace and beauty, the skills used are very different and skating deserves its own specific choreography.”

Surprisingly little was written down during the creation of the music and choreography of the original Swan Lake and the lack of stage directions left Mercer free to interpret the show as he saw it. The classic story has also been modernised. The love triangle between the hapless Prince, Princess Odile and the beautiful swan Odette has been given a dramatic and much more human twist, of which Mercer feels Tchaikovsky would have approved wholeheartedly. Clearly the audiences are lapping it up in any case.

Cundall was surprised at the reaction from some of the younger faces in the crowd. “I always talk to the audience - it’s the only way to really see if they are enjoying themselves,” he says. “These days. I see the Riverdance types, the ice skating types, the ballet snobs, the musical lovers and the twentysomething girls who drag along their boyfriends. And when you look at the boyfriends’ faces, you can see that despite themselves. they’re loving every minute.”

And what’s not to love. From the incredible, graceful moves of the breathtakingly skilled dancers to the emotive acting from the leads, the audience is saturated with larger-than-life extravagance from the start. Intricate period costumes sparkle, elaborate sets harking back to springtime in St Petersburg charm the eye and the lake itself, laden with layer upon layer of floaty, magical scenery that seems to stretch back forever, is surrounded by a shimmering haze of mist that has to be seen to be believed.

This is a brilliant example of a spectacle in the true sense of the word and Mercer is hopeful that the production will inspire a new following of ice-show fans: “We want this show to make people in the UK pick up where Torvill and Dean left off. My dream is that people who love Swan Lake the ballet will come to see our show and it will change their perception of ice theatre. We want to do for the ice show what Cirque Du Soled has done for the circus genre.”

No small ambition then - but if the feverish applause after the world premiere in Auckland is anything to go by, it looks like Swan Lake On Ice is set to carve out a niche for this cool new genre.

The Canberra Review, Australia
by Bill Stephens

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This “Swan Lake” is a truly magical theatrical presentation. Combining the ethereal beauty of classical ballet, and the speed and athleticism of world-champion ice skaters with Tchaikovsky’s glorious music, director and choreographer Tony Mercer has created a “Swan Lake” that is beautiful to watch and engages the intellect.

By respecting the source material and extending it to new heights he has created a theatrical experience which is imaginative, sensitive and quite thrilling. In fact with this “Swan Lake on Ice” he has raised the bar, and may well have changed the direction for ice shows of the future.

All the familiar characters are there. The handsome Prince Siegfried (Vadim Yarkov), his friend Benno (Andrei Penkine), the wicked Baron Rothbart (Anton Klykov), his ambitious daughter Odile (Olena Pyatash) and, of course, Odette, the beautiful swan princess (Olga Sharutenko). All are virtuoso skaters with impeccable technique, and all bring an unexpected level of dramatic involvement to their roles.

Indeed, the level of skating skill throughout the whole company is impressive, with extraordinarily difficult elements being put to the service of the choreography, while the combination of dazzling speed and relatively small ice area added more than a frisson of danger to the proceedings.

In this “Swan Lake”, the essence of the Petipa choreography is reflected throughout, most notably in the dance of the cygnets, and the national dances at the ball. But on this ice lake, the skating swans are able to glide gracefully through the fog, and in one breathtaking episode (during the famous pas de deux) Odette actually becomes air-borne and soars swanlike above Siegfried. The effect is enchanting.

Elsewhere, Anton Klykov’s villainous Rothbart, flanked by black-clad skaters on stilts, was engulfed in a circle of real flame rising from the ice, and the excitingly staged sword fight between Rothbart and Siegfried drew cheers from the audience.

The production values throughout are impressive. Eamon D’Arcy, who was the production designer for the opening ceremony of the Sydney 2000 Olympic Games, has devised a series of lavish settings, beautifully lit by Gavan Swift, for which costume designer Albina Gabueva, has used a subdued palette for her graceful, flowing Romanov period costumes. Her designs for the swans are particularly beautiful and evocative.

Odette’s rival for Siegfried’s affections, Odile, is a much more likeable character than usually portrayed, who upon realising that the prince is really in love with Odette, graciously steps aside and returns his engagement ring. This new relationship is expressed in a stunning pas de trios in the second act during which Odette and Odile are both carried around the ice by Prince Siegfried.

But one does not need to be familiar with the ballet to enjoy this production. “Swan Lake on Ice” is aimed at a mass audience, and it is hard to imagine a better introduction for either child or adult to Tchaikovsky’s glorious music or for that matter, to the art of ice skating. This is theatrical magic. Miss it at your peril.

The West Australian

by Naomi Millett

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Swan Lake is the ultimate fairytale - so popular since its beginnings as a ballet 130 years ago that some company somewhere around the globe is performing the two-act work every day of the year.That means plenty of dance versions for the purists, with room left over for some genre-blending in this updated version of the classic by artistic director/choreographer Tony Mercer. It has been two years since the Imperial Russian Ice Stars last wooed us in Perth and expectations were high as patrons perused another lavish, glitter-encrusted souvenir program.

With its central love story, a thrilling battle between good and evil, elements of the supernatural and Tchaikovsky’s uplifting score, Swan Lake has timeless appeal. But reworked on ice for 25 of Russia’s most talented competitive skaters, it is transported into a new, high-tech realm of sophistication.

As the curtain rises we are struck both by the exquisitely detailed, richly hued, 18th century palace ballroom setting and by the chill emanating from the 14 tonnes of frozen water used on the tiny 15m wide stage - a quarter of the size of a normal skating arena. This is the magical domain of Prince Siegfried, (dashingly played by Vadim Yarkov) seen living it up at his 21st birthday party with playful best mate Benno (crowd favourite Andrei Penkine) and an array of gorgeously attired guests.

The choreography flows effortlessly with stylised court dances before the dramatic interruption of Anton Klykov’s black-taped, devilish Count Von Rothbart and accompanying leatherclad henchmen.

Exuding evil charisma, Klykov’s half-bird, half-man ripped across the stage, sending ice chips arcing through the air with a sound like swords being sharpened on steel. Perhaps the most outstanding ice technician, he too was a huge hit, as was his wild, scarlet and black costumed daughter Odile (Olena Pyatash). These equivalents of modern day terrorists are not to be messed with; in later sequences they become monstrous, winged menaces on stilts, threatening all who cross their woodland path.

In the course of 13 short scenes, intricate backdrops rise and fall in seconds, allowing the tale to progress effortlessly. The details are easy to follow with extensive program notes, but even without this the cast’s skilled mime clearly conveys all the action. Throughout, Mercer and his creative team add spice to the ice with a breathtaking array of special effects and acrobatic stunts that enhance the cast’s expressive artistry and grace.

The swans, eerily illuminated in ultraviolet light, literally take off and at one point Swan Princess Odette (Olga Sharutenko) conveys her vulnerability by swapping skates for ballet shoes in a delicate homage to the original dance. Showstealing moments among many in Act Two include a tension-ridden confrontation between physical dynamo Rothbart and Odette, and a set of national dances (including a witty take on Riverdance) featuring an array of princesses keen to win the Prince’s hand.

One of two significant plot variations is that Mercer has opted to add realism by employing two different women to represent Odette and Odile, rather than the usual one performer. As for the other “twist”, you will have to see the show or the surprise will be spoiled.

With its stellar cast and stylish blend of traditional and modern theatrics and ice dance, this Swan Lake is a spellbinding dramatic experience that will thrill the senses. Opening night’s performance was met with multiple curtain calls and a standing ovation from an ecstatic capacity audience.

New Zealand Herald

by Raewyn Whyte

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Those amazing skaters from Russia, the Imperial Ice Stars, have returned to the Civic with their version of Swan Lake, a traditional Russian fairytale familiar to ballet fans. The company’s 25 superb skaters are all flash, dash and panache on the ice, the soloists well able to meet the demands of characterisation combined with spectacular manoeuvres, and the corps de ballet displaying the necessary uniformity to create symmetrical designs in space.The story is cleanly told, with events shifting from palace to forest to lakeside and back. Despite a rollicking pace there are enough quiet moments to create the allure and romance and poignancy which are the essence of the plot. This production ups the stakes on what can be achieved on a pocket handkerchief of ice stage, thanks to sophisticated choreography which has as many as 14 skaters at a time tracing intricately choreographed patterns across the ice.

They create interlocking circles, overlapping spirals, flower blossoms, slow serpentines threading their way between spinning soloists and pairs. The emphasis is on partner dancing, with women deftly tossed, spun, lifted, or held by one skate and spun horizontally, the men showing little sign of the effort expended to achieve these spectacular feats over and over.

Twos interlock to become fours, and then sixes, then another six merge to create a smoothly rotating wheel. Some of the partnering is astonishing, and the prince dances with two and even three women supported on his body at once. The production is tastefully stylish, quite different from the sumptuous kitsch of the company’s Sleeping Beauty.

Costume designs by Albina Gabuyeva are modelled on those of the court of Nikolai in the early 1900s, adapted to the skaters’ needs for non-slip fabrics and optimum skirt length. The colour palette is mostly restrained - browns and beiges, whites and silvers and greys, with brighter, brasher colours reserved for the divertissements from Spain and Italy and Hungary in the ball scene, and for the prince’s mother.

The villainous Rothbart and his pawn Odette are all black and red - she even has red LEDs on her boots, and Rothbart’s henchman wear black. Ballet fans will be happy to see the hallmark moments fittingly adapted to ice dancing, with a remarkably apt Dance of the Cygnets, and the romantic pas de deux of Siegfried and Odette at the lakeside in Act 1 convincingly danced.

View Auckland, New Zealand

by Fiona McLaren

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Under the direction of Tony Mercer, this team of 26 Olympic, World, European and National Championship skaters—who between them have won over 200 medals—performs a refreshing interpretation of Tchaikovsky’s Swan Lake.Mercer’s choreography touches on the near impossible, breaking many of the figure skating rules and displaying dangerously beautiful moves never seen before. He combines romantic ballet with the daring speed and athleticism of ice skating to create an awe-inspiring performance.

The story of Prince Siegfried and his love for Odette and Odile is told with powerful characterisation and clarity. The accomplished Vadim Yarkov skates with authority as Prince Seigfried. Olga Sharutenko (as Odette) and Olena Pyatash (as Odile) both demonstrate grace, combined with astounding speed, agility and prowess.

The fabulous Andrei Penkine shines as Benno; Siegfried’s best friend. His evanescence and cheeky energy ensure he is a crowd pleaser. Even the evil Rothbart, played by Anton Klykov, has such power and formidable athleticism, that you can not help but like him.

Mercer’s spectacular choreography maintained some of the traditional features of the original ballet, but included additional lifts, leaps, high speed, aerial work, acrobatics, stilt work and even a ring of fire to enthral the audience.

Moments of delicate pointe work convene with a world of speed and steel skates. With not a tutu in sight, Mercer creates an effortlessly dramatic performance.

Particular appeal in this interpretation of Swan Lake on Ice came from the dominant role of the male cast. It was refreshing to see outstanding acrobatics and mesmerising grace of the male dancers throughout the entire piece.

The audience was captured by the intense emotion between Siegfried, Odette and Odile. This trio is simply poetic. Danger, precision and power bring together the final duel between Siegfried and the evil Rothbart, leaving the audience feeling tense yet exhilarated.

Finally, Prince Siegfried and Odette’s embrace depicts pure tenderness and draws Swan Lake on Ice to a close.

Exquisite early 20th-century-inspired Russia costumes—with subtle tones and beautiful draping—emphasised the fluidity of the dancers’ movement as they travel around the ice.

Eamon D’Arcy, one of Australia’s leading set designers, renowned for his production of the Opening Ceremony of the 2000 Olympic Games, created a magnificent and historically researched back drop.

The lake was a place of mystery and beauty; the ballroom full of splendour; and the delightful St Petersburg Square during spring time (my particular favourite) was simply stunning.

The Imperial Ice Star’s mesmerising interpretation of Swan Lake on ice is a must see … a magical theatrical experience that will appeal to any audience. Even ballet purists will appreciate this spectacular rendition.

Sunday Star Times, New Zealand

by Ann Hunt

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ALL THOSE balletomanes out there can eat their pointe shoes. This is a fantastic production. Beautifully performed, produced and hugely enjoyable, it is great family entertainment that is guaranteed to lift the gloomiest of mid-winter spirits.Artistic director/choreographer Tony Mercer has aptly described it as theatre on ice. A mix of ballet, ice show and even circus, he sets his production in the Romanov period of Russian history, the early 1900s. This is reflected in the exquisite costume designs of Albina Gabueva and the stunning, romantic sets of Eamon D’Arcy.

Faithful in spirit to many of the ballet’s traditions, he has added innovative touches that well suit this spectacular production. Of all the ballets to produce on ice, Swan Lake must surely be the most appropriate. The ice itself is such a magical asset, which beautifully aids the illusion of flight and draws the audience into the story.

The evil magician, Rothbart, bewitches Princess Odette. She is condemned to be a swan by day and can take human form only at night. True love alone can break the curse. Traditionally, the ballet ends tragically. Here, the ending is a happy one, with a modern and surprisingly moving twist.

Apart from the occasional corny lift and Rothbart’s smoking clunker, Mercer rarely puts a foot wrong. His choreography cleverly integrates aerial sequences and even pointe work, with daring and beautiful ice dance.

The audience is held from the opening scene in the palace courtyard, with its lovely muted hues, the skaters whirling through falling snowflakes, to the final dramatic lakeside denouement - Odette walking forward throwing a handful of swan feathers into the air - the curse forever broken.

The special effects are spectacular and surprising: the magical first glimpse of the swan maidens rising out of the lake like Venus; incredibly skilful skating stilt walkers, like skeletal black crows; fluorescently costumed aerialists and, best of all, Rothbart surrounded by a flaming circle of fire.

The company of 26 Olympic, world, European and national championship skaters are superb. Olga Sharutenko is softly beautiful and vulnerable as Odette and a wonderful contrast to the sleekly sly and elegant Odile of Olena Pyatash. As Prince Siegfried, Vadim Yarkov is a fine skater and strong partner.

As Benno, Andrei Penkine is the sort of chap you’d want to slap, if he wasn’t so infuriatingly charming! And as Rothbart, Anton Klykov literally sets the stage on fire - a memorable portrayal in any medium.

Theatre Review, New Zealand

by John Smythe

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They began skating, most of them, soon after they learned to walk, it’s second nature to them and it shows. The Imperial Ice Stars’ skill level is Olympic standard but Swan Lake on Ice is much more than a demonstration of technique. This production, directed by Tony Mercer, honours the story splendidly - a version, that is, with a hugely dramatic but happy ending.Vadim Yarkov (who also played the Prince in Sleeping Beauty on Ice here, in 2004), brings great clarity to Prince Siegfried’s rite of passage from bachelor-gay to sought-after heir to the kingdom, tempted by the dark swan Odile but truly in love with the white swan Odette. He lifts, balances and twirls his partners with effortless alacrity, suggesting an aikido-like ability to use the energy that comes at him rather than just force it out of himself.

As his best mate Benno, Andrei Penkine is a delight, so cocky and playful you want him to be more central to the plot. As it is, his suddenly serious need to defend his friend in the spectacular sword-fight sequence sees him grow up fast.

Anton Klykov’s black swan sorcerer, Count Von Rothbart - father of Odile - is an ice athlete of wicked capabilities, confronting his audience with the dilemma of wanting to boo his powerfully expressed villainy while simultaneously applauding his extraordinary talent.

What red-blooded man would not be attracted to Olena Pyatash’s dark-eyed Odile, but when Olga Sharutenko’s Odette emerges from the ten gorgeous white swans on a steamy ice lake on a starlit night … Of course the young prince, out to shoot game birds with his crossbow, is taken with her utter purity … But then that raven-haired beauty …. Has it not been ever thus?

Then there are the Gaelic girls, and princesses from Italy, Spain, Russia and Hungary, each one - with their consorts - bringing their own cultural flavour to their ‘audition’ for the role of queen …

It is advisable to get a programme ($20 but full of fascinating information) to understand parts of the story not necessarily brought out in performance. For instance it is not at all clear that the ring given Siegfried by his Queen mum then given by him to Odette is hanging from the chain that Rothbart rips from her neck (to use it as the means of getting his daughter betrothed).

But by and large the central story is clear, and the choreography and its execution rise well above the conventions of classical ballet, while retaining some of its motifs, to explore and extend the wondrous potential of this relatively new theatrical form.

To a thorough re-arrangement of Tchaikovsky’s score (exhuming, as I understand it, parts long since dropped from the ballet version), recorded by the Manchester Light Symphony Orchestra, conducted by Tim A Duncan, the entire cast glide, swoop, twirl, lift, throw and spin with focused skill. (I’m told a ‘triple axle’ is the highest-scoring move in competition skating and this show is full of them.)

Along with the skate-based dancing we get point shoes on ice, skating on stilts, back-flips, cart-wheels, feats of great dexterity and strength - and a ring of fire to close the first act: all serving the story more, dare I say, than the average ballet does. Yet when Benno and Rothbart interact with us at the curtain call to check if we want some more - and we do! - the encore displays of sheer skill are simply thrilling in themselves.

Not a tutu in sight, by the way. It was Tony Mercer’s desire to set it in the Romanov period that attracted top Russian designer Albina Gabueva to this production and her costumes are fabulous. A special accolade, by the way, to whoever designed Odette’s seemingly flimsy costume to incorporate a sling that allows her to fly - a breathtaking moment - without a hint of bulky harness.

Australian designer Eamon D’Arcy’s sets are sumptuous (the palace) and evocative (the lake in the forest) and Gavan Swift’s lighting design enhances the magic a treat. Finally mention must be made of the technicians who ensure the ice is right on the night - and repaired during the interval - and others who bring exacting off-stage skill to the on-stage flying sequences.

If you’re a fan of Olympic skating, love a classical story well told and you don’t need to see dying swans to feel you’ve seen the show, Swan Lake on Ice is well worth a visit.

Manuwatu Standard, New Zealand

by STEPHEN FISHER

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Two years ago, the Russian Imperial Ice Stars won our hearts with a spectacular performance of Sleeping Beauty on Ice. This year, they have returned with an adaptation of another of Tchaikovsky’s ballets - Swan Lake.This was an excellent choice for a company of ice skaters, and last night’s audience was enthralled throughout the evening with a production that was even more spectacular than that of two years ago, as the composer’s gloriously romantic score provided the perfect accompaniment for this talented company.

The awards won by individual skaters - as listed in the programme - is most impressive. And all the skaters’ skills were demonstrated during the performance, with impressive elegance and grace. Indeed, the beauty of their work never ceased to amaze.

Director Tony Mercer has based his production firmly in the classic choreography of Swan Lake. But he has beautifully complemented this with the breathtaking leaps and spectacular lifts that we have come to expect from performers on ice.

This glorious artistry has been superbly matched by the design elements of the production. The sets and costumes brought a magnificent evocation of imperial Russia or mystical forest lakes to the stage. And if all this wasn’t enough, several of the sequences included spectacular aerial sequences, bathed in blue light. These created astounding stage magic that completely entranced the audience.

Swan Lake on Ice is undoubtedly a glorious feast for eye and ear and truly wonderful to behold, live, in the theatre in a performance characterised by brilliant artistry and absolute excellence.

Dominion Post, New Zealand

by Jenny Stevenson

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THE virtuosic art of ice dancing is something we see very little of in New Zealand - it has its own artistry and technique and there is very little to be gained from comparing it with the art of classical ballet. This production transforms the ballet Swan Lake and even Tchaikovsky’s score - using the characters from the much-loved classic but vesting them with a different dynamic.Wisely, there is little attempt made to reproduce the balletic choreography for the ice-skaters. In any event, the muscularity of the form precludes this. Instead, director-choreographer Tony Mercer has enhanced the gliding, spinning and incredible lifts of ice dancing with theatrical and dramatic effects that raise them to another dimension than the more technical displays of international sporting competition.

The lead artists are secure in their characterisations and the romantic storyline of good overcoming evil gives substance to the whole. Clearly, however, the men have a much greater part to play in this production than is the case in the ballet. Anton Klykov, who plays the part of the villain Rothbart - a sort of punk-mobster - shows off a formidable technique and dances with a vibrant energy.

Prince Siegfried, danced by Vadim Yarkov and Benno his friend, performed by an irrepressible Andrei Penkine, have a strong presence throughout, dancing with a great deal of style. But it is the strength of all the men, including the hard-working corps holding the women aloft - sometimes two or three at one time - that make this show so extraordinary.

Odette, played by Olga Sharutenko as a much more feisty swan maiden than is normally the case in the ballet, has a pure line that is shown off in the beautiful flying sequences of the big, romantic pas-de-deux. The swan maidens do beautiful sequence-skating to surround and support their queen. Odile, danced by Olena Pyatash with a strong technique, is not the arch-villainess that she is in the ballet. The corps all have a chance to show off individually and reprise their particular tricks in the encore.

This is a production of colour, dazzling costumes and many theatrical surprises, superbly performed. Not for the ballet purist, but definitely a good evening’s entertainment.