BRB | The Sleeping Beauty

Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Michelle Ewen

It’s a tale that needs no introduction – one that has charmed generations (young and old) ever since the seventeenth century.

The simple story of a beautiful princess who is awoken from a sleeping enchantment by the kiss of a handsome prince. Little wonder then that people happily braved the plummeting temperatures to flock to Birmingham Royal Ballet’s five-star performance of The Sleeping Beauty at The Lowry. (Who wouldn’t want to sit inside a giant snow globe with prima ballerina Delia Mathews pirouetting prettily centre stage?)

Fulfilling its bold mission statement to: ‘…inspire and move people worldwide with the best ballet…’ Birmingham Royal Ballet have assembled a formidable company of performers, who are ably supported by a stellar creative team and accompanying orchestra – superbly conducted by Paul Murphy.

Of course, it is Delia Mathews who shines as Princess Aurora, which is considered to be the most technically demanding of all classical ballerina roles. Appointed Principal in 2017, New Zealander Mathews spends virtually the entire performance en pointe – remaining beautifully controlled, while embodying vivacity and coy flirtation with every gesture. Her Disney-handsome Prince is Brandon Lawrence, who says his proudest moment on stage to date was dancing for His Royal Highness, The Prince of Wales at Buckingham Palace. (How fitting!) The Bradford-born Soloist was faultless in his footwork; oozing romance and charm, he stole my heart too!

Full credit to Nao Sakuma for making one of the greatest stage entrances I’ve seen: riding high on the backs of her malevolent attendants – and dressed head to toe in black lace and sequins – Carabosse is the embodiment of evil as she curses Princess Aurora on her christening day. Though less technically demanding, her ‘pantomime villainess’ turn is perfect, right through to the final curtain.

While these ‘showy’ roles undoubtedly shine, my greatest personal pleasure was seeing the Soloists each take their own moment in the spotlight during the Prologue and Act III.

Peter Wright’s The Sleeping Beauty is based on the original choreography of Marius Petipa, and it is truly a delight to see each performer take flight – buoyed by Pepita’s steps and Tchaikovsky’s magnificent score.

As Puss-in-Boots and the White Cat, Hamish Scott and Yvette Knight are delightful, while Ruth Brill and Valentin Olovyannikov as Red Riding Hood and the Wolf get fully immersed into character with the aid of their dazzling costumes. (It comes as no surprise to find out that The Sleeping Beauty is the only ballet that requires an articulated lorry just for costumes – including 40 rails and 16 huge wicker skips. From the moment the curtain goes up, the stage is awash with crisp tutus, powdered wigs and swathes of twinkling lace!)

That brings us neatly to Philip Prowse’s design. Sumptuous and decadent, the production feels lavish in the extreme; the set is beautifully lit by Mark Jonathan (recreated by Peter Teigen), whose genius gives us a real ‘wow’ moment when we see the sleeping Aurora spotlighted through the tangled forest.

Birmingham Royal Ballet is to be truly praised for delivering on every level: dream choreography performed by a truly accomplished cast; note-perfect orchestration; and a feast for the eyes through no-holds-barred production and design.

Don’t sleep on it… The Sleeping Beauty is on now at The Lowry until Saturday, 3 March. Tickets are available here

BRB – Aladdin

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Birmingham Royal Ballet returns to the Lowry’s Lyric theatre this week with their magical, family-friendly production of Aladdin. Taken from the stories of the Arabian Nights, David Bintley’s splendid version of this classic tale, with music by the BAFTA award-winning Carl Davis chose Salford to begin their Autumn/Winter ’17 season.

This enchanting production perfectly balances humour with beautiful chorography, and explores aspects of the tale that audiences may not have been aware of. The story begins with a young, cheeky Aladdin (Mathias Dingman) escaping the clutches of the palace guards with the help of the mysterious Magician, the Mahgrib (Iain Mackay), who subsequently tricks Aladdin into entering the dark cave on his behalf to retrieve the lamp.

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Each Act has its own crescendo which does not fail to dazzle the audience. The Cave of Riches at the end of Act I, is one of exquisite beauty, in which mischievous Aladdin is surrounded by an array of dancing gems who demonstrate a wide range of styles and techniques much to the delight of the audience. The gems lead Aladdin to the old lamp which places him on a road to riches and leads him to his true love, princess, Badr al-Budur (Momoko Hirata).

The sets and costumes become more vibrant and luxurious as the story unfolds, and as Aladdin himself becomes more accustomed to his life of luxury under the brilliantly blue Djinn of the lamp (played by Tzu-Chao Chou). The performance would not be the same without the dazzling orchestra conducted by Paul Murphy and led by Robert Gibbs, which adds to the atmosphere immensely, allowing the performance to swap and change between suspense and humour seamlessly.

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This production is bound to astonish audiences of all ages, with its delightful and superbly delivered chorography, technicoloured sets, sumptuous costumes and enchanting score. Birmingham Royal Ballet once again prove why they are one of the most loved and celebrated companies around, visually stunning, highly entertaining and not to be missed!

On at The Lowry until Saturday 23rd of Sepember tickets available here http://www.thelowry.com/events/aladdin

Reviewed by Emily Cotter

BRB – Cinderella

brb-5Birmingham Royal Ballet triumphantly returns to the Lowry with David Bintley’s magical production of the classic and much loved fairy-tale ballet, Cinderella. Originally performed in 2010 and broadcast by the BBC as their 2010 Christmas ballet, Bintley’s award winning production features the complete original score by Russian composer Sergei Prokofiev delivered superbly by the Royal Ballet Sinfonia. Staying true to the Cinderella story, we meet the wicked stepmother, Cinderella’s two ugly sisters (who we of course love to hate), as well as the handsome prince and not forgetting her magically gifted fairy Godmother.

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We begin in the dark and dank depths of Cinderella’s kitchen dwelling where a bare foot Cinderella has been cast by her wicked stepmother and ugly sisters, her only purpose in life seemingly to serve them. Despite the bleak and depressing surroundings Jenna Roberts ensures Cinderella shines and her joyous and delicate performance is enchanting. She moves with poise and perfection, light on her feet and full of endearing charisma.

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The story telling in this production, as with all Birmingham Royal Ballet productions is wonderfully clear allowing for a beautifully paced performance where we move effortlessly from one piece to the next, eager for more. Complimenting this exceptional narrative is an impressive set and deliciously extravagant costumes both designed by John F. Macfarlane, familiar to audiences as designer of the BRB’s hugely popular Nutcracker. The excellent narrative also allows for some great comedy acting from Skinny (Samara Dowes) and Dumpy (Laura Purkiss), the ugly sisters. Both excel in their roles and their acting is wonderful, offering the audience laugh out loud moments each time they enter the stage they are a fantastic fun and absolutely adored by the audience.

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Perfectly partnering Jenna Roberts’ Cinderella is handsome Prince, William Bracewell. Strong and athletic Bracewell is perfection in the role and the two of them glide beautifully together, their pas de deux performed at the grand ball is utterly mesmerising, they delivery of Bintley’s choreography is precise and striking. As the clock strikes twelve the dreamlike scene begins to crumble as Cinderella dashes from the scene leaving only her sparkly slipper, cue a highly entertaining hunt for the wearer of the shoe.

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Birmingham Royal Ballet succeeds once more in making a production which is not only enchanting and utterly thrilling but accessible and appealing to all. It is wonderful to see a diverse audience from very young children to those senior in age all totally captivated by this stunning production.

Cinderella is a work of magic, enchanting and sublime, an absolute delight.

On at The Lowry until 4th March

http://www.thelowry.com/event/birmingham-royal-ballet-cinderella