REVIEW: Birmingham Royal Ballet –
The Sleeping Beauty: “A Production Of The Highest Standard”

The Sleeping Beauty is the ultimate, feel-good fairy tale: good triumphs over evil, a princess and a prince find true love, and they all lived happily ever after. Birmingham Royal Ballet add these ingredients to a timeless choreography, top-level dancers and sumptuous costumes – and so keep the audience mesmerised until the very end of this three-hour performance. 

The curtain rises on a spectacular set that takes us instantly into an 18th century palace. Rich drapes and chandeliers frame the stage; women wear opulent gold-ornamented dresses with heavy jewellery, and men are in wigs. The dancers march on stage to Tchaikovsky’s majestic music, pausing only for the occasional curtsy. Though the first couple of minutes of the ballet have little dancing, it allows the audience to fully take on the luxury of the scenery. 

The Prince and Aurora – Birmingham Royal Ballet in The Sleeping Beauty

Sir Peter Wright’s 1984 adaptation is faithful to the original version, created in 1890 by Marius Petipa in St Petersburg. The choreography, a masterpiece of pure classical style, highlights the grace and technique of the dancers of the company. The fairies’ solos in the first scene are executed to perfection by six dancers in enchanting pastel tutus, casting a spell on the audience from the very beginning. 

The music by Piotr Tchaikovsky, powerfully played by the Royal Ballet Sinfonia under the direction of Paul Murphy, carries the ballet throughout. Romantic waltzes and delicate tunes alternate with imperial marches; the score illustrates to perfection the feelings and actions of the characters.  

Birmingham Royal Ballet in The Sleeping Beauty

The audience has to wait until after the first interval to discover Delia Mathews, the gem of the evening, in the role of Aurora. The main part in Sleeping Beauty is famous for being one of the hardest for ballerinas: it is a technical challenge in the sleekest classical style, and the dancer is on stage relentlessly for three acts. But Mathews sails through it with a admirable ease; her technique seems beyond limits and she controls every step she takes with ultimate precision. Her long arms and legs outline the lines and shapes of the choreography, and she manages to combine energy and speed with a calm elegance. 

Mathews embraces Tchaikovsky’s imposing music, which could easily be overwhelming, to the fullest extent. Her charisma is tangible from her first entrance, and she only grows more confident throughout the ballet. In the third act she reigns over the stage: there is already a queen in this princess. 

Princess Aurora – one of the hardest classical roles

Brandon Lawrence, as her Prince, is an ideal partner to Mathews. He is classy and handsome, and flies above technical difficulties. There is some kind of satisfaction in seeing him mastering the choreography with such ease. He and Mathews visibly trust each other and dance in perfect harmony. 

In supporting roles, Celine Gittens glows as the Fairy of Joy, and dances with enthusiasm. Nao Sakuma is convincing as the evil Fairy Carabosse, fierce and authoritative. 

The Puss-in-Boots and White Cat duet in the third Act delighted the audience, with sassy Yvette Knight, gorgeously dressed in a Victorian-style tutu, hissing and purring at Hamish Scott. 

Once again, the Lowry presents a production of the highest standard, and Birmingham Royal Ballet’s Sleeping Beauty will thrill anyone wishing to see a traditional take on this classic. 

Birmingham Royal Ballet are performing at the Lowry until Saturday 3 March. Tickets are available on The Lowry website.