This new production of The Sleeping Beauty is full of artistry and vigour.
Stella Abrera in The Sleeping Beauty, photo/Evan Li
Being put to sleep for 100 years by a wicked fairy is undoubtedly traumatic, especially for a beautiful princess. She is not to know a handsome prince will kiss her awake.
One of the highlights of the Royal New Zealand Ballet’s new production of The Sleeping Beauty is guest artist Stella Abrera’s interpretation of Princess Aurora’s first encounter with Prince Désiré. In Act II’s lyrical “vision scene”, Aurora, still suspended in time by the fairy’s curse, is portrayed as a woman longing for freedom and love. This is in marked contrast to her vivacious, confident appearance at her 16th birthday party in Act I.
It is a sensitive interlude amid the colourful pageantry, high drama and outstanding dance sequences that ensure The Sleeping Beauty remains the most celebrated work in the classical ballet repertoire. Set amid arching gothic-style vaults of a castle and forest, the ballet is alive with fairies and nymphs in vivid watercolour costumes, grand royalty in opulent furs and satin, vibrant peasants, endearingly comical cats and a wicked fairy’s curse.
Tchaikovsky’s score and the original choreography by Marius Petipa underpins RNZB choreographer Greg Horsman’s adaptation. He has transformed the substantial original into a modern fairytale, but retained the much-loved Rose Adagio, magnificent solos and famous pas de deux, including the Bluebirds. Gary Harris’s imposing medieval design cleverly shifts from castle to woodland to marble staircase, but at times intrudes into the performance space, impeding the free flow of dancing.
A dragon spitting fire and the venomous masks constructed by Weta Workshop add to Carabosse the Black Fairy’s box of evil tricks. Danced with wrathful scorn by Clytie Campbell, she swoops mercilessly, supported by her henchmen. The King’s assistant, Catalabutte, a delightfully self-important cat, is performed by Shannon Dawson, with masterful mime and comic timing. Abigail Boyle’s Lilac Fairy radiates her benevolence with soft encompassing arms and tender concern.
Commanding the stage with technical excellence, Sergio Torrado is a brooding Prince Désiré. An attentive partner to Aurora in their demanding pas de deux, Torrado is nevertheless a little passionless. Abrera, from the American Ballet Theatre, is stunning. A poised Aurora, she has total control over the challenging choreography, dancing with finely nuanced movement and expression.
Aside from a few first-night slips, the artistry and vigour of the whole company is evident throughout the production, capturing the extravagance of the original masterpiece.
THE SLEEPING BEAUTY, Royal New Zealand Ballet, touring, until December 8.