David McAllister's 'Sleeping Beauty'

David McAllister’s production of the classic ‘Sleeping Beauty’ was everything and more that I expected. The twinkling innocence and simplicity of the original tale is preserved and emphasised by subtle choreographic changes. Just as exciting and emotionally dramatic as Petipa’s, the Australian Ballet’s ‘Year of Beauty’ theme resonates through the entire production.

Because of the familiarity in the music and the storyline, it is easy to forget that this is the first time the company has performed this version of Beauty. The only negative I managed to draw from the performance were discrepancies in timing and synchronisation in the corps de ballet. The decadence of movement and positioning patterns in the palace scenes leave a lot of room for messiness. For a professional ballet company, timing issues can be disappointing. However, over time, an increase in familiarity and rehearsal time with the movement may prove beneficial to the corps de ballet.

The principal artists were a different story. My cast included Lana Jones as Aurora, Amber Scott as the Lilac Fairy and Kevin Jackson as Prince Desire. It is at this point that I may become lost for words; Jones and Scott have such a different sense of movement, both with unique types of beauty. Lana’s Aurora is youthful and vibrant, yet a certain level of maturity and intelligence is conveyed through her measured use of push and pull in every movement. This clarity of execution and grounded confidence is the perfect formula for the princess who is guided by wisdom and kindness. In contrast, Amber Scott is ethereal and seems to float in her every movement. She seems to glide with a grace and a joy that embodies the kind spirit of the Lilac Fairy. As the icing on the cake, Cheng Wu Guo and Ako Kondo certainly delivered when it came to the Bluebird variations. Arguably one of the most exciting sections of the ballet, watching these two showcase their technique and love of dance brought a smile to my face.

Now, let’s talk Gabriela Tylesova. Stage sets and costumes are tools used to enhance the audience’s viewing experience, to help tell the story and convey the personalities of the characters and context. What Tylesova has achieved here is more than just the background to the dancing. It is an integral aspect of the production and works with the dancing, rather than behind it. My jaw literally dropped at every scene; the detail and the intensity of colour in every costume, as well as the magnificence of the backdrops and props shone. Only seeing the glistening decadence of this stagecraft would do Tylesova’s work justice.

One sure-fire way to tell that you’re enjoying the ballet is if your face subconsciously changes expression as the plot develops. Yesterday evening, I found myself smiling, frowning and making the oddest expressions of happiness, fear and confusion. David McAllister’s ‘Sleeping Beauty’, with its sparkling principals and breathtaking set is set to develop into a winner. Productions like these are the reason I love ballet. They intertwine the art of dance, of storytelling and of lavish design into three acts of pure joy. I could have watched it on repeat, and I am definitely hoping that it will pop back into their program very

soon.

Love, Ingrid

Photography by Kate Longley and Jeff Busby