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Sarah Frater's rating
, Sleeping Beauty is pretty pantomime
By
Sarah Frater
4 Dec 2008
English National Ballet began its Christmas stint at the Coliseum last night with Kenneth MacMillan’s version of The Sleeping Beauty. It is a restrained, very pretty looking production, with misty woodland sets and sumptuous costumes which give everyone a gently aristocratic air.
You wouldn’t know that it is a touring production, normally a euphemism for budget as well as indicating the wear and tear the costumes take with all the packing and unpacking. In ENB’s Beauty, everything looks crisp and fresh, with just enough props to evoke the setting rather than the distracting clutter of many stay-at-home productions.
Combine all that with some able dancing and brisk playing by the orchestra of ENB and you have a very good show. There was, I should report, a slow start to last night’s opener, with some uncertain mime and so-so dancing. Some of the Fairies who bring magic gifts to Aurora’s christening lacked the finesse required of the roles, and Andre Portasio’s over-acting turned the wicked fairy Carabosse, admittedly an en travesti role, into a pantomime dame out of sync with the refinement of this production.
However, much else was prettily done. Aurora’s birthday party in Act I was nicely told, as was the hunting scene and Vision sequence in Act II. The Wedding in Act III was both joyous and dignified, with the fairytale characters, often panto turns, coming over as light and happy.
Princess Aurora was danced by Fernanda Oliveira, who conveyed all the warm innocence you want. Initially, her dancing was unbalanced, with lovely feet and legs, but less elegant arms and an occasionally gaping grin. However, she steadied as the performance progressed, much helped by the attentive partnering of Dmitri Gruzdyev as Prince Desire.
The Sleeping Beauty until 14 December, The Nutcracker 17-30 December, Manon 2-11 January (08700 40 2000, www.ballet.org.uk)
Details are correct at the time of publication - please check with venue before booking.
Reader views (1)
This is a traditional production that sits well on the large Coliseum stage and tells the story clearly thanks to ample passages of explanatory mime (helpfully elaborated on in programme notes). Lighting in the opening scene is perhaps a touch on the dim side, but improves as the evening continues and, while an over-abundance of pinks and apricots in the costumes might be too much for some, by and large, the elegant designs work well. MacMillan's choreography maintains many of the traitional elements expected of this long-time favourite and his affecting vision scene is particularly clear. A welcome return to London, then, for a perennial favourite which is well-served at every level by the Company, including a lively and well-paced orchestra.
- Clive Burton, London, 04/12/2008 11:17
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