Sleeping Beauty (Matthew Bourne): In Review
Company: New Adventures
Choreography/ Scenario & Director: Matthew Bourne
Music: PyotrTchaikovsky
Set & Costume Design: Lez Brotherson
Lighting Design: Paule Constable
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Princess Aurora: Ashley Shaw
Leo, the Royal Game Keeper: Andrew Monaghan
Count Lilac, King of the Fairies: Paris Fitzpatrick
Caradoc, Son of Carabosse: Ben Brown
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Matthew Bourne’s gothic re-imagining of Sleeping Beauty is certainly a visual spectacle and so much fun! The alterations to the scenario, inspired by past versions of the ‘Sleeping Beauty’ story (as well as new ideas of course), help to shine a new light on the famous fairytale- which has perhaps suffered over the past few decades due to Disneyfication. Everything just seems so much more thrilling. For example, the love story between Aurora and Leo is introduced much earlier into the ballet, rather than only at the end when she is woken up by true love’s kiss (originally by a Prince). Not only does this give the audience a chance to become invested in the character’s story, it also provides so many opportunities for amorous pas de deux that so suit Tchaikovsky’s romantic music. Furthermore, the relationship between the characters is much more satisfying, with Leo being forced to wait 100 years until he can save Aurora, and the added turmoil of her being abducted again by Caradoc once Leo’s kiss has woken her, meaning that he and Count Lilac essentially have to save her again… through slightly more brutal means.
Part of this ballet’s genius is the animatronic baby, who just brings so much fun and comedy to the production, particularly as Aurora is a baby for a significant chunk of the first Act. There is such a magic to puppetry. Despite us knowing that there are puppeteers right their on stage controlling this little doll (quite magnificently), there is still such charm and delight to be had. This is all assisted by the combination of set, costume and lighting that helps the puppeteers almost disappear completely from view. My only criticism was that the puppeteers (+ baby) deserved to be included in the bows- why they were excluded I have no idea?!
The design of the ballet is remarkable. It has that glorious theatrical exaggeration, combining beauty with the darkness of the gothic inspiration. The colours of red, black, gold and white seem to feature heavily, giving the production a rich feeling of opulence and dark fantasy. The choreography is also absolutely divine and incredibly creative. It veers away from the traditions of classical ballet and yet somehow doesn’t entirely leave that category. The liberties taken have allowed for an increased freedom of expression where the dancers are able to tell the story in far more convincing and interesting ways, without being restricted to classical ballet steps. This allows for more comedy, tragedy and moments that really show off the dancer’s physical prowess.
It was a little sad for me that the music was a recording, rather than a live orchestra. I imagine this way it makes it easier to tour, perhaps, since not all theatres have an orchestra pit. For most audiences, it likely wouldn’t detract, I just love to hear live music. The additions of sound design, with crying baby sounds, thunder and the wind blowing, definitely helped add to the gothic setting and gave the production a slightly more filmic atmosphere in part.
Overall it was a tremendously satisfying night-out, and something I would recommend to anyone. It would be a great production to attend if you have never seen a ballet before or do not feel particularly drawn to the more classical and formal ballet performances. This has a different kind of drama, flamboyance and atmosphere that will keep you on the edge of your seat!
Performance I attended: 2:30pm 12th January 2023, Sadler’s Wells Theatre
