Moscow Ballet “La Classique” Performs Tchaikovsky’s Timeless Classic Sleeping Beauty – Review

Festival Theatre, Sat 9 May

Attending the ballet is a wondrous thing, for those who may not be usual ‘ballet goers’, myself included. I had previously visited one performance which, while dazzling, was somewhat confusing to me, as I felt that I was somehow missing something that the rest of the audience was privy to. However, in this delightful, but sadly one off, performance at the Festival Theatre, the full house proved that all types can enjoy the ballet and I urge people to take the plunge next time the ballet comes to town.

Sleeping Beauty performed by Moscow Ballet “La Classique” is a delightful and glittering performance and had a theatre full of guests keen for an escape from the blustery conditions outside to enjoy the mesmerising journey into the mind of composer Tchaikovsky, reworked from the famous fairy tale of The Brothers Grimm.

The box seats in the theatre proved to be a fabulous way to view the sets and dazzling costumers, although it would be hard pressed to not enjoy the vantage point from anywhere inside the theatre. The brilliance of the costumes is outstanding, with the beautiful variations of colours depicting the fairies that commence Act One. They are visiting the baby Aurora, and bestowing their magical gifts upon her. It is hard to not be impressed by the beauty, the grace and the incredible detail shown onstage. The lighting and set designs were intriguing, well executed and interesting to experience intense mood changes with the fast paced storyline.

It is always a wonderful part of the experience to see a ballet accompanied by a live orchestra and tonight, sadly this wasn’t the case, but given the touring schedule of the company with this show, with a solid seven week tour over Australia and New Zealand, the nature of rehearsing with a local group or the intensity of traveling with one is easily recognisable as being perhaps almost impossible to undertake.  It would have however been interesting to see how a live accompaniment coped with an unforeseen and mystifying break in the second Act where were could all sense that something was meant to be happening, but an empty stage was ours for the viewing for a good two minutes. Nonetheless, it was short enough that most may not have even noticed anything was amiss.

Many young children were in the audience, and the two short Acts meant that you could easily follow a storyline with some familiarity. The dark and mottled scenery in the more shadowy sections of the story, such as when Carabosse the Evil Fairy is present, and we have a few wry laughs at the banter between various characters as they flit about the stage, yes the entire show one was spent marvelling at the beautiful escape that such a performance offers, and the light-hearted way it made you feel afterwards.

The choreography was excellent, the musical stories of each scene were varied and interesting and the sheer majesty of the execution of the dancers was awe inspiring it almost made me want to relive my youth and take up ballet. Of course, until one witnessed the principal dancer en pointe for several unbelievably long pirouettes and whimpered in sympathy at the sheer marvel that their training must entail.

Overall, the version of the story we are treated to is actually an adaptation of the story which at the end, where the prince and the princes marry and celebrate with their court and beautiful friends and family, we are visited by Puss In Boots, Red Riding Hood and other fairy tale characters as they help celebrate the union of the two. It adds colour to the show and familiarity to the younger members of the audience, and another cheeky aspect for the audience to smile along with.

Sian Williams

Images courtesy of Nadya Pyastolova