A Swan’s Mask
When we are not loved as we need to be loved, we often survive the deprivation through fantasy. We enter a fantasy of our own making or perhaps a more universal fantasy we share with other persons searching for acceptance and love. – David Roberts
“Swan Lake” begins with The Young Prince tossing and turning in his very large bed, agitated by nightmares. Above him appears a figure from his imagination, a powerful swan. The figure disappears and his mother The Queen enters his room to console him; however, when he reaches out to her she turns away from him unable to give him the love and attention and acceptance that he needs. In the remainder of the first act, we see The Young Prince and The Prince now grown attempting to adjust to being part of a Royal Family. He is paraded around by his mother, they both wave a lot (as Royals do), smile a lot (as Royals must), cut ribbons and launch new ships. But all of this activity does not satisfy the Prince’s need for love. – David Roberts
This is a Prince stuggling with issues of separation and individuation, sexual identity, and self realization. His Private Secretary continuously tries to set him up with a girlfriend. The Queen does not approve of this commoner and The Prince becomes more frustrated in his ability to find a significant relationship and determines to commit suicide by throwing himself into the lake in the park on the grounds of the palace. – David Roberts
His attempt is subverted by The Swan who emerges from the water. The Prince recognizes The Swan from his dreams and is instantly attracted to him. The Swan is joined by other swans who seem to threaten The Prince. The Swan controls them and protects The Prince, becoming his soul mate and his reason to live. More importantly, the Swan’s embrace of The Prince is the moment he recognizes who he is and what kind of love he wants and needs. He is able to accept that he is gay and finds a peace that he has never known before. – David Roberts
In the second act, despite the growth he has experienced, the Prince falls into deeper despair, particularly when, at a dance, he recognizes an intruder to look just like his Swan. The events which follow result not in life, but in the accidental death of his Girlfriend. Alone in his bed, he is visited by the swans who quickly disappear. The Prince’s Swan emerges from the bed and in a tender and beautiful fashion, invites The Prince onto the bed. The other swans re-enter and kill The Swan. The Prince, alone, dies of despair. His mother enters to discover her dead son and for the first time expresses emotion, even love for him. Above the bed appears The Swan with the Young Prince cradled in his wings. – David Roberts
For the Prince and his love the male Swan, redemption comes through death, but not even the pecking of his swan mates nor the poking and prodding of the Prince’s nurses and doctor can ultimately defeat the love the two found in each other’s embrace.
As the Queen approaches her dead son on his bed – the closest she has come to expressing any sincere human emotion throughout – the audience sees the Swan and the Prince above and behind the bed, in an embrace which will eternally link their hearts and their love and gives hope to all who search for love and meaning in a relationship. – David Roberts
When our perceived self merges with our real self, there is usually some kind of death and loss, but more importantly, there is a rebirth.
- David Roberts, in his review of Matthew Bourne’s Swan Lake