Completing his trio of Tchaikovsky's great ballets, Sir Matthew Bourne has turned his choreographic hand to Sleeping Beauty, with the added surtitle 'a gothic romance.' After reportedly experiencing divine inspiration whilst staying in the former bedroom of the renowned Russian composer, Bourne has re-worked the notoriously difficult narrative of this famous fairy tale, injecting new life into a story where the protagonist usually spends much of the time asleep.
Similar in tone to Sir Peter Wright's magnificent production of
The Sleeping Beauty for the Birmingham Royal Ballet, Bourne focuses on the dark side of this fairy tale. The opening image, the huge, foreboding silhouette of the evil fairy Carabosse, furious because she has not been invited to the Princess Aurora's christening (a child Carabosse found for the couple), really sets up the struggle between good and evil that threads its way throughout this production.
Rarely have I experienced a ballet so completely mesmerising and consuming. A huge crash of thunder and the full force of an orchestra open the show; the tension is high and the pace fast from this moment onwards. The first act has it all: a hilarious puppet of the baby Aurora climbing the curtains, a party of sparkling, beautiful fairies arrive to bless the new princess, and Carabosse is carried aloft by two contorting minions.
Lez Brotherston's set and costume designs are simply stunning, and make Bourne's darkly glamourous world come alive for the audience. The use of three parallel conveyer belts help the dancers to glide across the stage as if by magic. When the fairies step into an arabesque and seem to actually fly, the Hippodrome gave a collective gasp of delight. Similarly, the misty woods in the land of the sleepwalkers, all glistening tree trunks and suspended lanterns, create an unforgettable and magical image.
Bourne's Aurora, danced to perfection by Ashley Shaw, is no passive, picture book princess. In fact, she is more like a bohemian wild child as she tears off her stockings, throws off her shoes and runs off with the royal gardener. Shaw is an absolute delight, acting with vivacity and clarity and with an elegant yet lyrical quality to her movement. Her
pas de deux with Leo (the strong and assured Dominic North) are a joy to watch, with some gravity defying lifts that really capture the spirit of young love.
Adam Maskell is a triumph in the gender-switching role of Carabosse and her vengeful son Caradoc. He simply oozes evil, and has only to stand watchfully at the side of the stage to create a palpably foreboding presence.
The New Adventures company are absolute masters of using Bourne's choreography to create an atmosphere and set a tone, rather than simply demonstrating their technical abilities (which are also very impressive). Their use of audible breathing and their expressive eyes show that the entire ensemble are true dancer actors.
A special mention is required for Christopher Marney as Count Lilac, the vampire King of the Fairies, and the traditional fairy variations performed by Kate Lyons, Cordelia Braithwaite, Leon Moran, Katie Webb and Andrew Monaghan. Each soloist shines with their captivating smile, flashing eyes and intricate footwork; all creating excellent and distinctive characters for each different fairy.
These fairies are not here on a whim, merely to entertain us. They move with purpose, protecting the Princess Aurora from dark forces and casting their own mysterious spells. Rich, glittering costumes, feathered underskirts (reminiscent of Bourne's famous swan pants) and darkly dramatic eye make-up create a sophisticated and cool allure.
Sir Matthew Bourne's
Sleeping Beauty is all at once classical yet cool, sexy yet fresh and beautiful, and dark yet still completely uplifting and absorbing. It is too soon to call this ballet a classic, but it will surely endure for generations to come. This is one man who is completely deserving of his knighthood!
Photo: Simon Annand
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