October 15, 2008
Majestic and magical, The English National Ballet’s production of The Sleeping Beauty is a sophisticated, sumptuous treat. From the moment the curtain lifts your senses are indulged: the set hangs like a rich tapestry and the lighting creates exquisite layers of texture and mood. The costumes, from the shoes up to the hats, are art in themselves, with intricate detailing, warm golden hues and an abundance of glistening jewels. Tchaikovsky’s music is delightfully performed by a full orchestra, adding to the luxuriousness of the experience.
The story is well known and loved: as a baby, Princess Aurora has a spell but on her by the wicked Fairy Caraboss – she will prick her finger and die on her sixteenth birthday. However, the good Lilac Fairy counters the spell so instead Aurora will sleep for a hundred years.
Kenneth MacMillan’s choreography is both subtle and strong. The dancers bring their characters to life through gentle gestures and precise movements. The principal dancers are superbly skilful; delivering smooth and engaging solos and dancing in perfect synchronicity together. There are quirky moments too: in the final act Puss in Boots and Mrs Boots sashay around the stage, they paw one another and perform an unconventional booty-shake John Travolta would have envied.
Andre Portasio plays wicked Carabosse brilliantly. Everyone loves a baddy, but in Portasio’s case the cheers were well earned with his expertly executed comic-book evil hand gestures and wicked laugh. The Lilac Fairy, danced by Elena Glurdjidze, captured everyone’s hearts managing to perform as the perfect goody without coming across as a goody two-shoes.
There is something inevitably challenging about ballet; there is a seriousness inherent in it and a seriousness required of both those performing and watching. It impresses, mystifies and intimidates. It is perhaps one of the few forms of entertainment that has maintained a true dream-like quality. The Sleeping Beauty is a masterpiece; every element of the production has been cultivated and refined to a superior standard.
The story is well known and loved: as a baby, Princess Aurora has a spell but on her by the wicked Fairy Caraboss – she will prick her finger and die on her sixteenth birthday. However, the good Lilac Fairy counters the spell so instead Aurora will sleep for a hundred years.
Kenneth MacMillan’s choreography is both subtle and strong. The dancers bring their characters to life through gentle gestures and precise movements. The principal dancers are superbly skilful; delivering smooth and engaging solos and dancing in perfect synchronicity together. There are quirky moments too: in the final act Puss in Boots and Mrs Boots sashay around the stage, they paw one another and perform an unconventional booty-shake John Travolta would have envied.
Andre Portasio plays wicked Carabosse brilliantly. Everyone loves a baddy, but in Portasio’s case the cheers were well earned with his expertly executed comic-book evil hand gestures and wicked laugh. The Lilac Fairy, danced by Elena Glurdjidze, captured everyone’s hearts managing to perform as the perfect goody without coming across as a goody two-shoes.
There is something inevitably challenging about ballet; there is a seriousness inherent in it and a seriousness required of both those performing and watching. It impresses, mystifies and intimidates. It is perhaps one of the few forms of entertainment that has maintained a true dream-like quality. The Sleeping Beauty is a masterpiece; every element of the production has been cultivated and refined to a superior standard.