Oh what beauty!
The Sleeping Beauty
New Theatre, Wednesday 9th November
It is unfortunate that Walt Disney got his hands on The Sleeping Beauty and, in making his animated classic, only used one snippet of Tchaikovsky’s glorious music for the soundtrack. The original ballet has always, in popular perception at least, been overshadowed by its younger sibling. Thanks to productions such as this one, however, this might not be the case forever.
This production is not new; it is a revamped revival of a production choreographed, directed and created by the much mourned Kenneth Macmillan ten years ago. Even in America, when it was originally mounted in L.A., the sumptuous costumes and sets, and the brilliance of Macmillan’s choreography earned it the nickname ‘The Million Dollar Production.’ Although noticeably scaled down for the road, the grandeur of the production is undeniable.
Set against a background reminiscent of the idyllic world of a Watteau Fête Champêtre, the whole production from the simple and elegant sets to the glorious profusion of silks, lace and diamonds of the costumes, induces a pleasant sense of other-worldliness. This feeling is not, however, due entirely to the production alone, the orchestra of the ENB playing with skill, elegance and a beautifully round tone through what constitutes an epic of endurance for orchestral players.
From the malicious evil that was inherent in every movement made by André Portásio’s fairy Carabosse to the sweetness and tenderness of Sarah McIlroy’s Lilac Fairy, it was clear that this was a cut above the normal productions of Sleeping Beauty.
The ensemble pieces, from the blessings of the Fairies in the prologue to the nuptial dances at the end of act III, were both a brilliant demonstration of the wide technical skills of the Soloists of the ENB and a testament to Macmilian’s careful mixing of the traditionalism of Pepitus’ standard choreography with a few deft touches of his own. More than anything, however, it was the brilliance of the principals that gave this production such lustre.
This is even more remarkable given that these dancers have had to live up to the rave reviews garnered by the combination of Thomas Edur and Agnes Oaks, considered to be two of the finest interpreters of the roles of Desirée and Aurora of their generation.
Yet both Erina Takahashi and Cesar Morales, as Prince Desirée and Princes Aurora respectively, gave performances of technical skill that was obvious even to the non-balletomane, their movements suffused with noticeable and carefully expressed emotions. It was perhaps a shame that although individually both leads gave such brilliant performances, there was distinct lack of chemistry between this particular combination of dancers.
This, however, flags up a very minor point that did little to actually upset the fairy-tale world of this excellent production.
17th Nov 2005