Birmingham Royal Ballet: The Sleeping Beauty (Wright), Spring Tour 2018

[SheilaC]

Managed to get to the Lowry, despite multiple train cancellations, and saw three performances, each with a different conductor.

 

At the Saturday matinee Maureya Lebowitz was a delightful Aurora, embodying joyous charm, and in command of all the technical perils. In the evening Yaoqian Shang's musicality, phrasing and lyricism produced a lovely reading of the choreography. In Act 1 her wonderful smile radiated as ever but she tempered it at moments, such as when she learns she is to marry, and of course in her anxiety after she has pricked her finger. In Act 2 her dancing was eloquent, even innocently seductive as she beckoned the prince to follow her. In the final act she was serenely classical. Chi Cao partnered her well and proved that he still has formidable technique.

 

Across the 3 performances the dancing of the fairies varied in standard but most were good. Jade Heusen was an impressive Carabosse, Delia Mathews an authoritative Lilac Fairy, Michael O'Hare a masterly Catalabutte, and Valentin Olovyannikov a hilarious Gallison.

 

The dancers must be exhausted, so many performances of such a demanding ballet, so many changes of role. It is good that they are on such good form.

[northstar]

Thanks to all for the comments on this BRB run of Sleeping Beauty so far. I went to two performance at the Lowry, Salford; opening night with Delia Mathews and Brandon Lawrence leading, and Sat matinee with Maureya Lebowitz and Lachlan Monaghan. For me, this production epitomises classical ballet, although I'll admit I've not seen dozens of performances like some forum users will have (although I watched plenty of YouTube videos). It's an outstanding masterpiece of art, and the times I have seen it (all in Salford) over the last 15-20 years are treasured memories for me. 

 

It was an utter privilege to see Mathews in her debut season in the role, and words cannot really do justice to the sparkling pristine classicism which she transmitted from the first moment she appeared. She handled the role with great intelligence and taste, and yet her dancing seemed instinctive and fresh; and I marvelled at how she got this balance (excuse the pun) so perfectly. I know several forum users dislike the fact that the Rose Adagio has turned into an olympic sport, but I must admit I do like the excitement the technical challenges brings (my heart is usually pounding when I watch it live). I agree that there is too much emphasis put on the arabesque-balances - but I must mention how Mathews handled them as an example of her brilliance in the role. The balances were held definitely but not overtly extended, and her hand returned delicately to each suitor in turn; thus maintaining the character and mood of the opening scene above all.  She was immaculate, stunning, throughout the performance, everything I could wish for in an Aurora. and I will add this performance to my memories.

 

Similarly I will remember Lebowitz's radiant Aurora on Saturday. Having noticed her some years ago, I have managed to catch a few of her performances last year in Cinderella and Coppelia, and I find her such an appealing and attractive dancer; I first 'noticed' her as the Enchanted Princess in BRB's previous Sleeping Beauty tour (2012 or 2013 I think). As SheliaC said, she was technically in command and after delivering an excellent Rose Adagio, just seemed to get even better in the following acts so that I was quite overwhelmed by her jubilance and panache in the Wedding PDD.  I understand she has danced this role for some time and her dramatic treatment was superb, the way she commanded the stage simply with her posture, her arms, her smile, her eyes. One particular moment I noticed, in the Rose Adagio when she walked into the final balances she did it with such prompt and natural eagerness - on top of the world, confident, and keen to meet her Princes again -  she seemed to perfectly illustrate the meaning of the Rose Adagio. In the Wedding PDD she seemed completely in her element and her final diagonal of turns in the coda was so fast and brilliant it was the perfect icing-on-the-cake of a marvellous performance. 

 

Not enough time at the moment to detail my many other thoughts on these performances, or detail my appreciation of the company as a whole in delivering such majestic artistry in this production, except to say that I am so grateful to have the chance to experience this level of art near my home. Just a couple of further points - I did notice Yvette Knight as the Countess in Act II, just a couple of simple arabesques and turns that shone out in quality. Finally, returning to the car park through the Lowry shopping centre, I'm fairly sure I saw Celine Gittens, looking effortless glamourous in fur coat and jeans, making her way to the theatre where she would be leading the Sat eve cast.

 

I've not had my fill yet and now I'm looking at Wales and Plymouth and working out if I can find a way to attend again - particularly to see Gittens and/or Knight as Aurora.

 

Edited March 4, 2018 by northstar
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[Tony Newcombe]

Northstar, see Yvette Knight if you can.

[Barnes2]

I could not get to see them, alas, but apparently Karla Doorbar and Max Maslen were glorious. How wonderful it is that BRB can field so many superb casts and how depressing that coverage of their performances in the national press is non-existent. If you have not yet seen this production do not miss it.

[Jan McNulty]

I'm intending to put up a Gush-fest later.  Karla and Max were utterly sublime!

[LinMM]

Lovely to see Yaoqian Shang getting prime roles now ....loved her as a student and could see she had potential ....and is now achieving it

 

The other day I was sorting out my ballet stuff including old student performances from ten years ago and getting everything into some degree of order ....took hours as kept stopping to read programmes and cast lists ....and in one of the programmes had underlined the name ( among others) Karla Doorbar. 

I have never seen her dance since and had ( sorry confession coming up) forgotten about her! But seeing I had liked her as a student and seeing she is now too getting good roles at BRB is lovely.

So when I see them at the Wells in June will see if can deliberately catch up with some of these "old students" including one Brandon Lawrence!! 

[Jan McNulty]

*** SPOILER ALERT … THIS POST IS GUSHING AND FULL OF SUPERLATIVES! ***

Over the last 3 weeks I was lucky to see 9 performances of Sleeping Beauty (3 in Birmingham and 6 at The Lowry).  Over those 9 performances I saw 7 Auroras and 7 Florimunds.  

 

I have 2 regrets:

1. That I didn’t see Momoko Hirata/Mathias Dingman or Celine Gittens/Tyrone Singleton.
2. That I didn’t have even more performances booked!

When Sleeping Beauty was first announced for this Spring my first reaction was “Oh no not again”.  I don’t know why I always tend to have that feeling because the minute I see this production I just can’t get enough of it!  I absolutely adore SPW’s production, it was my first and still (IMHO) stands head and shoulders above any of the other productions I have seen, even though I have enjoyed most of them.  

 

One of the things I really like is that Lilac and Carabosse are portrayed almost as mirror images in similar costumes.  It has never worked as well for me in productions where Lilac wears a tutu and Carabosse doesn’t.  But in this production these 2 fairies are, for me, more equal and all the more effective for that.

I also love the vision scene, especially when Lilac is leading Flroimund towards Aurora and in the first instance the fairies are almost the forest he is searching.  It is just so beautiful.

 

I love the sumptuousness of this production, the rich, almost autumnal hues of the sets and costumes.  Kitsch though it may be I love the golden shower at the end… the final tableau always leaves me with a lump in my throat.

 

So I can’t remember a time that BRB has been able to field NINE Auroras and Florimunds and that I have wanted to see all of them.  I thoroughly enjoyed all nine performances I saw, indeed several of them will live in my memory banks for many years.  OK if some of the fairies stood out slightly more than others so what!

 

The first cast that I saw was Miki Mizutani with Cesar Morales.  Miki was sublime (a word that I will be over-using in this post!).  She looks so delicate but has a diamond technique.  She was every inch the naive young princess who blossomed into a young woman by Act 3.  Cesar must surely be the most elegant of princes and was a magnificent, caring partner.

 

That evening it was the turn of Delia and Brandon.  What can I say that has not been said about them before.  Delia is a taller dancer but she somehow looked so young and shy in Act 1.  She was sheer bliss in the vision scene and the gpdd was so beautiful I had tears streaming down my face.  She has a gorgeous expansiveness in her dancing.  She and Brandon look like they were born to dance together; he was a most caring and loving prince.

 

The following week I took my best friend to see Nao Sakuma and Yasuo Atsuji.  It was Yasuo’s debut as Florimund and it was one of those performances that was sprinkled with magic dust.  I was in floods during Nao’s glorious rose adagio and again for the touching, scintillating, exhilarating gpdd.  Was I over-emotional … I don’t think so because my friend was also moved to tears as was the lady sat on my other side!

 

Delia and Brandon were just as wonderful on the opening night at The Lowry.

 

On Thursday afternoon I felt privileged to be in the audience watching Karla Doorbar and Max Maslen making their debuts in the leading roles.  Karla was so very convincing as the young princess growing to love her prince in the final act.  She absolutely inhabited the role of Aurora.  Max was an elegant, caring, loving prince.  It was magical.

 

Thursday evening saw Yvette Knight and Edivaldo Souza da Silva lead the way.  They were delightful in the roles.  Yvette is another dancer who is the epitome of elegance but she also displayed the innocence of the young Aurora who blossomed into love in Act 3.  Edivaldo is less expertenced than the other Florimunds but he was a total delight as the prince.

 

On Friday evening Nao and Yasuo proved to be as brilliant as they had been at the performance I saw in Birmingham.

 

Saturday afternoon was utterly sublime.  Maureya Lebowitz was gongeous as Aurora and Lachlan Monaghan (in his debut) was scintillating as the prince.  I felt privileged to have been in the audience for yet another special, utterly memorable performance.

 

What can I say about Saturday night.  It is no secret to members of this forum that Chi Cao has long been my favourite dancer.  Yaoqian Shang has proved over and over again that she is really special.  The whole performance was magical.  Yaoqian brought such a depth of character to her interpretation of Aurora - so innocent and naive when her dad told her she was to be married and girding her loins to be graciousness personified in the rose adagio which had shivers running down my spine from start to finish.  Chi’s dancing was breath-taking and he is a wonderful partner.  I was THRILLED to have seen this performance and floated all the way home to Liverpool!

 

In my run of performances I saw 4 Carabosses.  Nao Sakuma was impossibly glamorous, sensual and inherently evil.  Jade Heusen described the character with a broader brush and was positively terrifying!  Daria Stanciulescu and Samara Downs were also impossibly glamorous and perhaps more bad tempered than evil.  I loved all 4 of the Carabosses I saw.

 

Nao Sakuma really should be given World Heritage status.  Not only was she amazing as both Aurora and Carabosse but she also danced the Bluebird pdd with 3 different partners!!!  She really is WONDER WOMAN!!!!  Her partners, for the record, were Mathias Dingman, Yasuo Atsuji and (as a late replacement) Max Maslen.  I also enjoyed Max with Maureya and Lachlan with Karla.

 

Random joys - that wonderful actor Valentin Olovyannikov as Gallison (causing me to guffaw out loud), one of the Princes and Catabalutte.  James Barton back with BRB and looking great in the pdq, as Gallison and in other roles.  Alys Shee in the pdq and as a couple of different fairies.

 

BRB has almost an embarrassment of riches and gave us some dazzling performances of this most testing of classical ballets.

 

I must remember next time it is announced for the rep that I love this production and book even more tickets to see it!

[Shade]

Lovely review Janet. I so hope to see this production next time as it sounds wonderful. I think SPW is a wonderful producer. 

[Jan McNulty]

Thanks Shade.

[bridiem]

Sublime review Janet! Thank you - I wish I could have seen some of these performances, but reading your post is the next best thing.

[Jan McNulty]

Thanks Bridiem 

[now voyager]

I'm planning to see the first two evening performances (14 & 15 March) in Cardiff. If anyone else will be attending and would like to meet up, please PM me.

[Sim]

Lovely review Jan!  

[BristolBillyBob]

Great review, Janet! I went to see this at the Millennium Centre in Cardiff on Saturday (cunningly the same day the world and his dog were going there to watch the Six Nations!). I might write up the odd thought later, but it's interesting to see Karla Doorbar getting a shot at the lead. Even though she wasn't in a leading role at the performance I saw, she really stood out (as she so often does) and my ballet buddy and I were discussing her and how she might get on in the meatier roles. Sounds like she did great! I'll make a point of trying to catch her on future performances. 

 

I was also talking to my ballet buddy about who the up-and-coming talent in the company might be. A lot of the dancers that I spotted when I first started following the company way back when have either made it to Principal or are knocking on the door. At Cardiff I made a point of watching the corps to see if I could spot any particular future talents, but nobody particularly leapt out. Aside from Karla Doorbar and Laura Day, who are always fab, who would be your ones-to-watch for the future, Janet?

[Jan McNulty]

Well that's an interesting question B3!

 

I always love watching Yvette Knight, who gradually seems to be coming into her own.  Yaoqian Shang is very special and will go far.    Muareya Lebowitz and Miki Mizutani are always fabulous too.  They have all been gorgeous Auroras this season.  I also love watching Reina Fuchigami and Rosanna Ely.

 

Of the gentlemen, apart from those already established even if not at the top level (Brandon and Yasuo) I think both Lachlan Monaghan and Max Maslen will go far.  I am really noticing (especially) Aitor Galende plus Haoliang Feng and Edivaldo Souza da Silva.

[northstar]

I went to see the Thurs eve (15th) performance in Cardiff with Celine Gittens and Tyrone Singleton leading. I had seen 2 performances at my 'local' the Lowry Salford, and Cardiff is a long trek, but I was intrigued to see Gittens in the role, and since the last BRB Sleeping Beauty was 2013 (unless I am mistaken), didn't want to wait another 5 years for the chance. 

 

What can I say about Gittens that is not trite and uninteresting? I think she's one of the finest ballerinas performing in this country, possessed of a unique and remarkable poise and sensational outstanding technique that is clear in her every step. Her Aurora was masterly, exquisitely, and convincingly performed, with pearly classicism. In particular I would praise both her and Singleton in the Act II awakening pas de deux which was touchingly communicated. There has been a lot of discussion on the forum about Delia Mathews debut as Aurora but not as much mention that it was Gittens' debut in the role too this season. 

 

I've seen 3 performances of BRB Sleeping Beauty in the last month with Aurora danced by Gittens, Maureya Lebowitz, and Delia Matthews and each viewing has been a privilege. As recommended by Tony Newcombe I did want to see Yvette Knight too but sadly it was not to be as I had a special family event the night she was dancing. The standard of performance in every case has been superlative, and the rich and fascinating contrasts in personality and portrayal of the lead ballerinas has been very rewarding to see. There is one performance I most enjoyed but I would keep that secret, because I think so many subtle and intangible factors add up to one's enjoyment it's just not fair to state it. Suffice to say I would eagerly see any of the casts again. 

  

In Cardiff Lachlan Monaghan as the Bluebird deserves a special mention, there was some impressive quality that stood out, and I felt the audience responding to his performance.

 

I tried to drink in every moment of the staging and costumes this time, reminding myself what a magnificent spectacle they make. I like very much Janet's description of the 'autumnal' tone I think that's very accurate. As well as the final glittering gold confetti, the end of Act I tableau with the court and the fairies all standing on stage together it's just a magnificent piece of art in it's own right. 

[alison]

Just watching the Dutch National Ballet performance of this production which is currently online: are all the Prologue fairies identically dressed in BRB's version too, or are there some subtle distinctions which I can't pick up?  It seems rather less logical than having all the prospective fiancées in Swan Lake looking the same, to me.

 

Also wondering whether the Dutch production is more populated than BRB's?  It seems to be, from what I remember of it.

[Jan McNulty]

I've just had a quick look.  All I can find on the BRB website is the trailer.  It looks to me as though the fairy costumes are subtly different whereas on the DNB version they all look the same - slightly different colour to BRB too.  The fairies are at 24 seconds into the trailer:

 

 

[alison]

Thanks, Jan.  There appear to be quite a few differences, costume-wise.  I must admit, I'm finding the DNB version a little overblown at times.

[northstar]

Thanks to Ballet Forum for noting this DNB Sleeping Beauty performance

 

It's really nice to see it commented on in this thread on the most recent BRB run of the 'same' production in the 2018. I went to 3 performances, and watching the DNB recording brought back lovely memories. I think there are some production differences, I didn't remember the 'obelisk' in the BRB performances, but looking at BRB production photos, it is there. 

 

It's probably not the right thread but I do know what Alison meant about the DNB being overblown, when I started watching I initially felt it's all a bit too formal and grandiose. But I have to say the central performance by Maia Makhateli really convinced me and blew me away, and the underlying brilliance and power of the familiar choreography won me over, and the wonderful glittery gold confetti at the apotheosis, is almost a bit of kitsch fun to wrap it up - I love it. 

[alison]

Well, I've finally finished watching the Dutch National Ballet version.  It's funny, I guess because of his background I'd expected Sir Peter's version to be rather closer to the Royal Ballet's than it actually was.  Can anyone who's more familiar than I am with BRB's version (not difficult - I've probably only seen it once a decade) tell me whether there is much difference in text between that and the DNB version?  (The video should still be up until the end of tomorrow - or rather today - afternoon)