A classic in every ballet fan’s book, Birmingham Royal Ballet’s The Sleeping Beauty is a performance not to be missed.
Based on Charles Perrault’s fairy tale La Belle au Bois Dormant, children and adults alike recognise The Sleeping Beauty’s timeless story. Though arguably short on substance, the tale provides the perfect backdrop to showcase BRB’s impeccable technique and talent.
The show is not only a feast for the eyes but for the ears too; Tchaikovsky himself described the ballet as one of his best. Conducted by Paul Murphy, the Royal Ballet Sinfonia provides stunning accompaniment to the dancer’s performances.
The curtains rise to a ballroom bathed in gold, Tchaikovsky’s stirring score landing us amid Aurora’s christening. The drama soon increases when wicked witch- Carabosse visits the princess, leading her to prick her finger and fall into a deep sleep, only to be broken by true love’s kiss.
Created by Sir Peter Wright (known for his renditions of The Nutcracker and Swan Lake), this year marks the 40th anniversary of the production. Director Carlos Acosta CBE has breathed new life into the performance whilst honouring its roots; several original costumes have been restored to their former glory to mark the anniversary. Few ballet companies compare to the grandeur of BRB’s sets and costumes- the production value of The Sleeping Beauty is nothing short of dazzling, transporting the audience out of rainy Salford quays and into an enchanting magical kingdom. Stand-out costumes included those of Carabosse and the Lilac Fairy, with dancers Daria Stanciulescu and Eilis Small’s facial expressions and mimes also deserving special mention.
Other exceptional performances came from the two leading dancers, Max Maslen (Prince Florimund) and Momoko Hirata (Princess Aurora). Despite being seated only six rows from the stage, Hirata moved so gracefully that I never once heard her feet touch the floor. Maslen commanded Act Three from start to finish, performing incredible turning sequences to rapturous applause. The pair were supported by a decadently costumed corps de ballet, performing fairy tale characters ranging from Puss-in-Boots to Little Red Riding Hood and her Wolf.
Princess Aurora is renowned for being one of the most technically demanding ballerina roles. For this reason, Dame Darcey Bussell, former principal of the Royal Ballet, joined BRB as a guest coach. In her words: “The Sleeping Beauty is the ballet in which everything comes together; it’s the most extraordinary score, and the choreography really challenges every generation that comes to it.”
It is reassuring to see BRB continue to deliver exceptional classical ballet to modern audiences despite recent cuts in the budget for arts by the Birmingham City Council. A growing number of councils nationwide are announcing arts funding cuts, affecting countless cultural organisations. The quality of tonight’s performance reinforces the value of continuing not only classical ballet but all forms of artistic and creative outlets, maintaining culture and creativity throughout the UK.
There is certainly still an audience for classical theatre. First premiered in Russia by the Mariinsky Ballet in 1890, The Sleeping Beauty was adored from the start. This performance shows no signs of exclusiveness, with audiences ranging from 9 to 99, so the show is ideal for aficionados and newcomers.
The Sleeping Beauty has now ended its run at The Lowry. But it continues its run in Plymouth, Bristol, and London’s Sadler’s Wells. Tickets are available here.
