The Sleeping Beauty

The Sleeping Beauty is pure opulence on every level. Dance, music, scenery and costumes all combine to make a memorable experience for all ages.   

David McAllister has taken the much-loved gem of the classical ballet repertoire and made it his own without destroying the original intention of Marius Petipa and Piotr Ilyich Tchaikovsky.

The visual splendour of the production belongs to the talents of Gabriela Tylesova, from the Baroque splendour of the Palace, to the eeriness of the forest and the verdant lustre of the Palace Gardens. Her three-dimensional columns, designed to imitate cracked porcelain soar above the stage to frame the other elements of the set. The front screen (with similar elements) features a castle painted on a scrim to give us a tantalising view through to the action. The colours are straight out of Louis XIV; rich cream, maroon, deep green, mid blue and of course gold, glittering and sparkling.

This grandeur is then continued in the costumes. There are fairies that could have stepped out of a picture book, elaborate court costumes, fur capes, tutus cascading with roses and the six metre gold trains worn by Princess Aurora and Prince Desire at the end of their wedding.

The opening of Act 3 with chandeliers rising to the ceiling and sumptuous cream and gold court clothes drew well-deserved applause from the audience on opening night.

Jon Buswell’s lighting both highlights and complements the mood of the ballet with its moody shadows and glittering brilliance.

Of course, ballet would be nothing without music and the renowned Adelaide Symphony Orchestra under the capable hand of Nicolette Fraillon envelops us in the luscious soundscape that is Tchaikovsky. At 70 players, the effect varies from delicate to regal. Fraillon and the orchestra work as one with the dancers, anticipating their every jete and pirouette.

The Sleeping Beauty contains many challenges for soloists and corps alike but David McAllister’s dancers rise to the task of bringing this classic to life.

Robyn Hendricks’ Princess Aurora has the right amount of innocence and technique. This role is well known for its technical demands and Robyn (new to the role) makes it look easy. Her Rose Adagio (together with her suitors) is a triumph. Unsupported arabesques are the Mount Everest of a ballerina’s technique and Henricks ensured hers would be memorable.

Ty King-Wall makes Prince Desire a true Danseur noble. His pas de deux work with Henricks is solid and commanding and his pas de seul with its leaps and turns demonstrate his strength and technique.

Valerie Tereshchenko’s Lilac Fairy is a light as a feather. This role relies on strength of acting as well as dance, both of which she has in abundance. She floats on stage and tells the story appealingly. An unassuming role, the Lilac Fairy is the presence that unites the other characters.

Carabosse is the evil fairy you love to hate and Alice Topp is menacing but elegant, complete with her retinue of rats. She slinks across the stage with a sexuality that would make anyone turn to the dark side.

The other fairies feature in Act 1 and 3 particularly with their own dances and support for Aurora. Sarah Thompson’s Fairy of Musicality is a highlight with her razor-sharp hands and dazzling footwork.

The King (Tristan Message), Queen (Elizabeth Toohey) and Catalabutte (Franco Leo) carry the brunt of the acting and in doing so are suitably stately and dignified.

Act 3 (The Wedding) contains the famous dances for fairy tale characters and while they are all polished in their own right, the highlight is definitely the pas de deux between the Duchess and the Bluebird. Brett Chynoweth as the Bluebird reminded me of a young David McAllister. Flying across the stage, amazing elevation for his height and the ability to land on his feet without making a sound, he delivers a spectacular performance and is clearly an audience favourite.

Add to these principals and soloists a well drilled corps be ballet that are true artists, particularly in the garland waltz from Act 1.

There were a few faltering moments in the first act when I attended, but apart from that The Sleeping Beauty is a masterpiece of classical ballet that should not be missed!

Barry Hill

Photographer: Katie Longley