Sleeping Beauty: A Gothic Romance

Amazing show with talented dancers, unique choreography, flowing storyline, wonderful decors, costumes and makeups.

Nice mix of classic and modern dancing that may not be for you if you are on to a classic ballet. But time passed on quickly when watching it.

Only problem was; In the moonlight scene in the beginning, one of the stage lights dazzled my eyes because it was reflecting from one of the mirrors on the decor. I recommend buying a ticket from just opposite side of the stage and try to avoid buying tickets from right stalls. Maybe it was a particular problem in Nottingham but just keep on your mind.

And don't miss it!

'The Sleeping Beauty' is one of my favourite ballets and one of the cornerstones of the medium. Even though the story is slight (though charming) and some may find the lead characters on the bland side (which is true for the original fairytale), Tchaikovsky's music is amazing and some of his best. And there have been many productions, such as the oft-revived for good reason Royal Opera House production, where the choreography is just magical.

So that was one reason to want to see this production of 'The Sleeping Beauty'. As well as that it was courtesy of Matthew Bourne, who was first introduced to me via Sky Arts watching his all male version of 'Swan Lake' which was surprisingly wonderful in my view. Those that prefer their productions to be traditional, personally do prefer traditional productions of operas and ballets to concept productions as there is less chance of irrelevant staging touches and distaste, and to the letter may not care for his work. To me, as somebody who is open to new interpretations depending on their execution he is a very clever director who has ideas that are inventive and unlike any ideas seen before in ballet while still being respectful.

What were my thoughts on his Gothic version of 'The Sleeping Beauty'? Will admit to not being sure as to whether the ballet would work in a Gothic setting, have always felt that the atmosphere is a specific one and was worried that a darker approach would take away from the story and music's beauty. It was to my relief that it does. It is not my favourite production of 'The Sleeping Beauty', but it is the most unique, no production of the ballet quite like it, and stands out amongst the rest of the competition.

There are some tinkerings with the score with a fair share of musical edits that will go either way for traditionalists. In my view, while it was interesting to hear a different approach to the music some were not really needed when Tchaikovsky's music is as perfect as it is.

Also wouldn't have said no to having some of the footwork more up close, it's such intricate footwork and brilliantly executed but would have liked to have seen it more intimately consistently.

However, there are so many fantastic things here and at least three interest points. Really liked what was done with the story, with plot twists that could easily have been pointless and distracting but actually fleshed things out and gave more meaning. It has a lot more story here than in the ballet's second half (which is basically a series of divertissements) itself, with some surprising conflict in Act 4. The interpretation of Aurora was refreshing, she gets character development in a way never seen before in any production of 'The Sleeping Beauty' before or since. And interesting it is too, giving her dimension and more rounded personaliity while not distorting her. The romance doesn't feel as sudden or as rushed, it's more nuanced and takes time while not taking too much of it. Was worried as to whether the additional character of Caradoc would serve any point, but actually he makes for some truly eerie conflict.

It was clear that a lot of money and effort went into the costumes and sets, which look truly great. The Gothic atmosphere has a real creepiness while also being bewitching, the gloomy lighting enhancing its impact and the costumes are both beautiful and daring. The choreography here has much entertainment value, sensuality and edge and is just as intricate and technically challenging as Marius Petipa's choreography often adapted, which the production makes a lot of knowing nods to (even when re-worked they are recognisable). Carabosse's entrance is genuinely menacing.

Musically, it's performed with power, nuance and gleaming beauty and the conducting is alert and accomodating. The sound effects add a lot to the atmosphere and leaves one appropriately unnerved. All the performances are on point, with two truly charming and technically flawless leads in Hannah Vassallo and Dominic North and Adam Maskell steals all his scenes as especially Caradoc. Very interesting and never seen before twist on the Lilac Fairy.

Overall, excellent performance and a Gothic beauty. A prime example of different being done extremely well. 9/10