Tchaikovsky’s score was commissioned for Petipa’s choreography in the definitive production of this tale in 1890. Now Ashley Page (directing and choreography) and Antony McDonald (design) have restaged The Sleeping Beauty for Scottish Ballet, which has toured Glasgow, Edinburgh and Aberdeen since mid-December last year, coming at last to the recently reopened Eden Court Theatre in Inverness. Tchaikovsky got swept up with this, his second score for ballet, to the point where he clearly couldn’t let go. Without intermissions, the premiere ran for over two and a half hours and contained considerable “filler” pieces where each dancer had a spotlight moment. Those days are long gone. Or are they? Well, not at Scottish Ballet, who have produced the full nine shillings with this one, where other companies have chosen to go for an abbreviated, more commercial version.
This production is an outstanding and spectacular feast for the senses, moving seamlessly from pure classical ballet to routines which contain something of the avant garde. The costumes, both the mid-nineteenth century Russian frocks and the sleek ‘New Look’ of 1940s London glamour, are simply sensational. Peter Mumford has also done a brilliant job with the lighting. Guest conductor Michael Bawtree kept the orchestra up to speed with the action, mostly.
“And the winners are…..Antony McDonald and Michelle May, for Costume Design.”
The company of dancers performed so well that it seems unfair to single out individuals for special comment, but I’m going to do it anyway. Soloist Soon Ja Lee, as the Lilac Fairy was one of the stand-outs. Hers was an all round performance which pulled the story together with great eloquence. Her deft arm movements and subtle expressions provided a very clear narrative which held the piece together in a masterly way. She was just terrific. Consummate performances were turned in by Jarkko Lehmus and Eve Mutso playing the King and Queen respectively, Mutso doing a faultless impression of Grace Kelly circa 1954. So, so elegant.
Regrettably, the word beauty doesn’t sit well with the company’s Principal ballerina, Claire Robertson. Wearing an unconvincing Gordon Brown richtus grin and a plank up her boddice, she danced through the routines without much of the grace or enjoyment so evident in her companions on stage. She was unfortunate also to have drawn the short straw in the costume department. And she did much more dancing than sleeping. It simply didn’t work for me. But that’s OK, because everything else was wonderful.
It’s become fashionable in some circles to deride Tchaikovsky as derivative, repetitive and not particularly inventive, labelling his music as a hybrid of Russian and western music styles. Let the scholars argue over that. The score for The Sleeping Beauty was one of his last and therefore more mature works and it does exactly what you want from it: it accompanies the ballet, flowing along gently, with an occasional reminder of its integral significance. You don’t leave the theatre humming the themes all the way home because it’s not about that. Page makes the point in his programme introduction that “design and choreography are closely entwined, mutually supporting the narrative and interweaving with the musical score to become one seamless voice.” It’s all about the whole.
I was late with my booking, so was grateful for any seat available. It happened that the middle of the front row of the stalls wasn’t a popular choice. But why not? It is absolutely the best seat in the house, despite being the last to go. I recommend it, without reservation. Actually you should make a reservation. This has been a sell-out tour and will have raised the company’s stock considerably.
The Sleeping Beauty tours Glasgow, Edinburgh, Aberdeen, Inverness and Newcastle until 23 February 2008.
