His Majesty’s Theatre, reviewed 18 November 2021
The Sleeping Beauty, originally premiered in 1890 at the Mariinsky Theatre in Saint Petersburg, is a fairytale favourite and has been restaged countless times all over the world. With the original production (choreographed by Marius Petipa) being nearly four hours, Javier Torres’ adaptation for the West Australian Ballet, like many modern productions, is an abridged version, and strikes a lovely balance between originality and traditionalism.
Like the original, this production consists of three acts and a prologue. However, each act is condensed such that the total run time is approximately two hours with one interval. Several changes allow for this reduction in time. For example, there are only three fairies instead of the usual six, and a few characters such as Cinderella and Prince Charming are cut from the wedding scene.
Torres has made a few minor changes to keep the story engaging. For example, Princess Aurora does not prick her finger on a spindle, but rather a thorn from a poisoned rose. However, the most significant change is the characterisation of the evil fairy, Carabosse. The role is shared by a male and female dancer (Kiki Saito and Juan Carlos Osma on this night), creating a supernatural, shapeshifter-like impression. The addition of bats, with wings spanning several metres, to accompany Carabosse adds a layer of conviction to the character, and both Saito and Osma were truly menacing in their performance.
Chihiro Nomura was exceptional as Princess Aurora. With much of the choreography remaining true to the original by Marius Petipa, the role is a challenging one. She executed it all with poise, including the iconic balances of the Rose Adage. Oscar Valdes as Prince Desire was equally brilliant, with his confidence matching his powerful jetes. Effortless as partners, both Nomura and Valdes were, rightfully, afforded several rounds of applause mid-performance.
The Lilac Fairy (Alexi Tuzil), of course, remains a prominent character (although renamed as Lilac, the Fairy of Love). Tuzil has long extensions and soft courus, and her characterisation established a gentle and earnest guardian to Princess Aurora. Claire Voss as the Fairy of Courage and Candice Adea as the Fairy of Joy provided a comical element to the trio. Adea’s bubbly and energetic personality was a perfect match for her role.
As always, the ensemble work of the WA Ballet was impeccable, particularly in the synchronicity of the Act I waltz (traditionally the Garland Waltz).
It can be difficult to cut such a long production down to two hours without sacrificing the length of too many scenes. One scene which is a little short-lived is the final struggle between Prince Desire and Carabosse, where the prince stabs the villain with his sword. With Carabosse being such a powerful character in this adaptation, the brief battle feels a little anticlimactic. However, this is really a minor quibble in an otherwise outstanding production.
The costumes by Erika Turunen are elaborate and detailed. Both men and women alike are dressed in pastel-coloured coats and dresses layered with tulle and ruffles. The many animal cameos allow for some more amusing costuming; in particular, the deer, with their oversized heads, are a costuming highlight. The set, designed by Minna Wallenius, is equally elaborate, and is complemented by the lighting of Nigel Levings. Tchaikovsky’s iconic score is performed with spirit by the West Australian Philharmonic Orchestra, led by conductor Jessica Gethin.
With only a few subtle changes from the original, Torres’s adaptation of The Sleeping Beauty has a traditional feel. The show is sophisticated yet uncomplicated; a fine production to cap off the year.
- ALANA KILDEA