Reviewed by Alicia Graham and Jan Halloran

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Birmingham Royal Ballet’s 40th anniversary production of The Sleeping Beauty delivered a pure classical ballet experience. Artistic Director Carlos Acosta brings the iconic, Sir Peter Wright production to life in all its gilded glory to The Lowry. Salford.

Originally choreographed in 1892, Marius Petipa’s chorographical footprint is prevalent throughout this production accompanied with Tchaikovsky’s stunning orchestral composition that paints exquisite pictures. 

Sleeping Beauty is a master class in dance history, whilst being truly accessible to all. BRB do not disappoint with this exquisite production. Supremely talented dancers, exhibit artistry, dramatic characterisation and technical prowess. 

The Royal Ballet Sinfonia are a joy, truly integral to the classical experience, the overture enveloping you in familiar strains that hint of the narrative to come.

A golden production, the imperial, sumptuous, set shimmered and the costumes, many restored from the original production, created a true spectacle and the lighting design complemented the story beautifully.

This classic well known fairytale where good triumphs over evil, begins with the prologue, the curtain opening onto a majestic court where the baby Princess Aurora is to be christened. Catalabutte, the Master of Ceremonies, keeps checking his list of invites, something is worrying him. Courtiers sweep and glide across the stage in heavy brocade and velvet, the costumes dancing with every choreographed step. The choreography brings the music to life through incredible musical visualisation.

Fairies shower Aurora with their gifts, showcased in a solo dance, of beauty, honour, modesty, song (a particularly enchanting performance), temperament and joy.

Ominous tones from the tympani drums signal foreboding. Enter Carabosse on an imposing chariot, ready for battle carried high by her crow-like attendants.  Threateningly evil movements inhabit her body. Incensed because she was not invited, Carabosse threatens that her gift is that Aurora will die if pricked by a needle. A mimed battle ensues between Carabosse (Daria Stanciulescu) and the Lilac Fairy (Ellis Small), who triumphs as her spell is the last to be granted. Aurora will not die, she will sleep for a hundred years.

Act one celebrates Auroras 16th birthday at the court. As the familiar notes of the beautifully choreographed garland dance are heard, you can hear the audience humming along to the familiar soundtrack. Mokomo Hirata makes a joyful entrance, full of youthful innocence.

As the famous Rose Adagio begins there is no apprehension in Hirata of the technical challenges to come. The adagio is danced with fluidity and a cheeky smile as she coyly eyes up the suitors.

Suddenly a stranger enters with flowers for Aurora, concealing a spindle, which intrigues her. Despite the best efforts of the courtiers Aurora pricks her finger, the hooded stranger is revealed as Carabosse, and again the Lilac Fairy enters to spread calm and send Aurora and the whole palace to sleep.The castle is cocooned in thorns, (the descending set here is dramatic) until a handsome prince will come and awaken Aurora with a kiss.

A hundred years pass. Hunters enter the wood in front of the hidden castle. A cleverly light-hearted scene, the hunters in wonderfully accentuating bustles, wield their whips. Prince Florimund (Max Maslan) as the handsome prince, looking for true love is introduced, showing precise, authoritative technique with exquisite, ariel batterie.

Finding himself alone, he is entranced by a misty vision of Aurora introduced to him by the commanding yet ethereal and elegantly empathetic, Lilac Fairy and her atmospheric woodland fairies. He begs the Lilac fairy to take him to Aurora. Despite Carabosse’s wildly treacherous and evil protestations, his love parts the thorns. Good prevails, on finding Aurora he seals his love with a kiss, awakening Aurora and the court, signalling the triumph of good over evil.

A sparkling, rejoicing court dressed in opulent finery,welcomes the new Prince and Princess to their royal wedding celebrations with guests providing the entertainment for the court, displaying the talents of BRB’s dancers.

An exuberant Pas de Quatre was danced with beautiful synchronicity. Puss-in-boots and the white cat positively purred, delighting in their pas de chats, whilst their spines meowed. Red riding hood and the Wolf brought lovely humour. Bluebird soared with winged gestural arms and the Enchanted Princess with her beautiful smile was truly enchanting. Their pas de deux was breath-taking.

Hirato and Maslan steal the show as their solos and pas de deux showcase their talents. Increasingly complex choreography is performed effortlessly, the partnership setting the stage and audience alight. The production comes to an end in the most glittering finale leaving the audience feeling like they’ve attended a very important occasion. This is a ballet not to be missed which will thrill experienced and inexperienced ballet goers alike.

Birmingham Royal Ballet’s Sleeping Beauty is on at The Lowry until Saturday 9th March, tickets available here.