In sharp contrast to some of the more adult-themed ballets presented by The Australian Ballet in recent times, the national company is about to revive David McAllister’s The Sleeping Beauty in Adelaide, Brisbane and Sydney. This ballet is a treat for all ages, full of high impact visual appeal and a joy to watch. McAllister’s version was first performed in 2015 and is ripe for restaging. As former Artistic Director of The Australian Ballet, McAllister’s work will be handed back to dancers who initiated their roles in his take on the classic, as well as inviting dancers who are newer to the company to embody the famous roles. Jarryd Madden has danced Prince Desire and shares with our readers what he likes most about dancing in this particular production:
“There is a pride I feel when preforming this production. This was the only full-length ballet David McAllister created for the Australian Ballet. David was such a generous director, giving so many creatives’ opportunities to create productions on The Australian Ballet, that it was nice when he finally let himself have a go. Having had two artistic directors now, it feels nice to acknowledge the history of this company, but also scary to think that I've been here so long that I am now part of that history!”
It’s safe to say that The Sleeping Beauty is a legendary classical ballet resplendent with magic and spells and a fight between good and evil. There are princesses and princes, and fairies, both friendly and mischievous. Tchaikovsky’s music is also some of the best loved in ballet. It is glorious and sumptuous with spectacular choreography to match. As Principal Artist Benedicte Bemet, who performed Aurora during the last performance in 2018 reflects:
“I hope the audiences feel the beauty of Tchaikovsky’s score being expressed through our bodies. The Sleeping Beauty is one of the technically most demanding ballets, the challenge is enjoyable due to the music being so inspiring”.
McAllister follows the traditional Petipa choreography but makes amendments – omissions and additions. Some of these changes, especially the dropping of certain variations caused controversy among critics when the ballet was first performed in 2015, though my sense is that most audiences loved it. This production also changes the staging up with super-lush colours and an extravagant set design. It’s a kind of a kaleidoscopic extravaganza. Its loud and proud visual language may divide some more traditional viewers. It is certainly a fully immersive experience – but where to look? At the time of its first staging, the opulence and vivid colour-drenching of this production (set and costume design by Gabriela Tylesover) did not please all commentators. It will be interesting to see what audiences and critics make of this 10 year anniversary revival. McAllister’s Beauty may be a traditional classical ballet, but it is definitely not a visually tame ballet! A recent viewing of the film confirmed to me that the choreography, costumes and performances are fresh and thrilling and waiting to be enjoyed once more.
Principal Artist Benedicte Bemet once told Dance Australia “I love David McAllister’s Beauty costumes. The Aurora tutus and also the Bluebird tutu. I just felt really beautiful in them. And I feel like that makes a real difference - looking in the mirror and thinking ‘I feel really beautiful’. Costumes really change the mood and totally change your physicality.” While fellow Principal Jill Ogai shares what she enjoyed about dancing in the ballet. “My favourite role has to be Princess Florine, particularly the iconic [Bluebird] pas de deux in Act 111. It’s musical and sweet, whilst also being very impressive technically and so fun for the audience to watch”.
If The Sleeping Beauty is a ballet of spectacle and splendour, it is also a ballet of richly drawn characters, each contributing to its timeless charm.
At its centre is Princess Aurora, the ill-fated royal whose grace and innocence are matched only by the immense technical demands placed on the dancer who portrays her. ‘Aurora barely stops dancing for the entire ballet’, says Principal Artist Benedicte Bemet, who performed the role during the 2018 season. ‘The challenge is enjoyable due to the music being so inspiring’, she reflects. While the choreography is exacting, Aurora is more than a display of technical skill. Her journey from youthful exuberance to poised maturity gives the ballet its emotional heart.
Carabosse, the fairy of wisdom and vengeance, brings high drama to the stage. Furious at being excluded from Aurora’s christening, she casts a terrible curse that sets the entire story in motion. With sweeping gestures and theatrical flair, Carabosse is as much a symbol of chaos as she is a character, bringing a dangerous edge to the fairy tale.
Countering her darkness is the Lilac Fairy, who serves as Aurora’s silent guardian and the production’s guiding light. Where Carbosse threatens, the Lilac Fairy protects. It is she who softens the curse and later leads Prince Désiré through the enchanted forest to awaken Aurora. Calm, dignified and ever-present, the Lilac Fairy is central to the ballet’s enduring sense of hope.
Prince Désiré may arrive later in the story, but his role is pivotal. Having danced the part in previous seasons, Principal Artist Jarryd Madden reflects, ‘There is a pride I feel when performing this production... it feels nice to acknowledge the history of this company.’ Désiré’s journey is one of discovery and destiny, culminating in a deeply felt pas de deux with Aurora that celebrates both love and renewal.
In the ballet’s shimmering Prologue, five fairies present gifts to the newborn princess. Joy, Grace, Generosity, Musicality and Temperament are each brought to life through distinctive solos, offering an early display of the production’s characterisation and classical precision. These roles often showcase emerging talent within the company and add a vibrant layer to the ballet’s storytelling.
And then comes the joyous wedding scene. As the court celebrates Aurora and Désiré’s union, a colourful procession of fairy tale guests takes the stage. Among them, Princess Florine and the Bluebird are audience favourites, their pas de deux a lyrical and high-flying highlight. Principal Artist Jill Ogai recalls, ”My favourite role has to be Princess Florine... it’s musical and sweet, whilst also being very impressive technically and so fun for the audience to watch.”
In David McAllister’s The Sleeping Beauty, the characters are more than symbols of a familiar fairy tale. They are vibrant, fully realised figures brought to life through music, design and masterful performance. Whether it’s your first time seeing it or a long-awaited return, the magic remains irresistible.
As Aurora rises, so too does the spellbinding spirit of ballet in all its glory.
Susan Bendell
This article originally appeared in the July/August/September issue of Dance Australia