Birmingham Royal Ballet - Sleeping Beauty, Spring 2024

[alison]

I'd happily go, if it weren't for the lack of trains   I suppose that applies to a few people.

[San Perregrino]

I wonder if trialling a 7pm start time might encourage more ticket sales. For a ballet close to 3 hours an earlier finish might work better especially if children are coming along. 

[Emeralds]

Is Bello injured? Hope he makes a speedy recovery if he is. If he isn't recovered before 15 March (his next scheduled show) then Gittens will need another partner (Feng? - they've been partners before. Singleton?).

 

Hope Samara Downs isn't injured too. Would be nice if she could get a proper last performance as Aurora.  

 

 

 

 

[SheilaC]

I have been told that the company expects Bello to be able to perform in Sleeping Beauty later in the season but that Samara is unlikely to do so.

[annamk]

A friend and I went to Birmingham for the first night of Sleeping Beauty, Neither of us had seen this Peter Wright production before and we were interested to compare it with the Royal Ballet version, being the one we are most familiar with. 

 

We loved the muted colour palette of the costumes and the staging which were very different to the some of vibrant colours seen at Covent Garden. The simple stage scenery is very attractive. 

 

The choreography and story telling are mostly familiar with relatively minor differences here and there: 

 

- we noted the absence of knitting ladies (a plus); 

- the Lilac fairy is a non dancing role (also a plus), this worked particularly effectively in the contrast between Carabosse and the Lilac Fairy in the scene leading up to the awakening; 

- there is no interminably meandering chariot to transport the Prince and the Lilac fairy through the forest to the castle in which Aurora lies sleeping, this whole scene was dispatched much more swiftly and was by the far the better for it;

- Florestan and his sisters have become a pd4.

 

So to the performances. 

 

Due to injury the opening night honours went to First Soloist Yu Kurihara and Principal Lachlan Monnaghan, both ex Royal Ballet School. I remember him from the graduate show in which he really impressed me although the last time I saw him I was slightly underwhelmed. My friend remembered Yu Kurihara from the school but I’ve not seen her dance before. 

 

Further up this thread @Pas de Quatre wrote some words about Yu’s debut in Southampton and I agree with them. Yu was absolutely delightful, confident, technically very good, particularly in the difficult solo which follows the Rose Adagio, she has a beautiful jump and a charming stage presence. Lachlan Monaghan gave a quality performance: he's unshowy, light on his feet, his solos were neat, his tours particularly well executed with tidy landings and he was a most warm, generous and secure partner. They had a lovely chemistry together. 

 

The overall standard of dancing was very good indeed, we were impressed by many of the soloists and corps -  Reina Fuchigami’s Fairy of the Song, Riku Ito and Shuailun Wu in the pd4 to single out a few.

 

Philip Ellis conducted the Royal Ballet Sinfonia at a terrific pace - it was truly thrilling to hear and it really added to the drama and the joy of the evening.

 

I highly recommend catching this beautiful production at Sadlers Wells if Birmingham is not an option. 

[Tony Newcombe]

Agree with Anna’s comments. I would like to suggest to the London audience, that while Alina Cojocaru will be a popular

choice, do go and see Yu Kurihara on the first night if possible. This afternoon she took on the mime role of the Lilac Fairy and was outstanding. She just has this magical aura about her when on stage.

[alison]

It should be noted that the Awakening pas de deux at the end of Act II seems to have gone back to sleep again.  I couldn't work out whether it was to keep the running time to under 3 hours, or due to lack of rehearsal time or something.

[Emeralds]

I must say I was surprised to see Kurihara's name and photo among the list of Lilac Fairies on social media- in the past it was unusual for Lilac Fairies to dance Aurora and vice versa certainly in the same season - the Auroras might alternate as Princess Florine or Christening Fairies. Still if she can do both successfully (and it certainly helps the body to rest a bit in between performances of Aurora!) and there are many able and eager dancers up to the task of dancing Florine and the other Fairies, then why not. 

 

Am looking forward to seeing this again after more than 10 years but just need to juggle some schedules at the moment. 

[Emeralds]

On 17/02/2024 at 10:02, SheilaC said:

I have been told that the company expects Bello to be able to perform in Sleeping Beauty later in the season but that Samara is unlikely to do so.

Thank you SheilaC, I notice now that the company have also echoed your reply on social media that they are hopeful Yasiel will be recovered in time for 15 March and subsequent performances. Matthew Ball is certainly having a busy month dancing different roles in different theatres, from Theseus and Cupid in Brandstrup's double bill in Bath, Des Grieux in Manon at ROH to R & J pas de deux at the Palladium and Prince Florimund at Birmingham Hippodrome! (I hope he has a railcard to get discounted travel.....lol.) 

[alison]

24 minutes ago, Emeralds said:

I must say I was surprised to see Kurihara's name and photo among the list of Lilac Fairies on social media- in the past it was unusual for Lilac Fairies to dance Aurora and vice versa certainly in the same season

 

Yes, but don't forget that Lilac Fairy in this production is a "walking" role: the tough solo is taken, I think, by the Fairy of Joy.

[Emeralds]

1 minute ago, alison said:

 

Yes, but don't forget that Lilac Fairy in this production is a "walking" role: the tough solo is taken, I think, by the Fairy of Joy.

Yes, that's what I mean- usually a dancer who often played mime/character roles portrays Lilac Fairy in this production (whether regularly like Eilis Small and Yvette Knight now or Samira Saidi in the past, or had semi retired after a long career in principal ballerina roles, like Margaret Barbieri). Sad to say I never got to see Barbieri in this although I'd always wanted to! Yes, the Lilac Fairy variation in the Monica Mason/Anthony Dowell/Ninette de Valois productions is danced by an extra Christening Fairy who dances last [checking the cast list online)....yes, called Fairy of Joy in this production, you're right, Alison. 

 

I like having a non dancing Lilac Fairy in a long sweeping dress in this version because it looks so effective and grand  when she does the mime especially the "polite" bow - having a Lilac Fairy in pointe shoes and tutu bowing with feet in first position is not quite as effective even though the dancers all do their best to make it work. 

 

Interesting to see Momoko Hirata on the first night cast list dancing Fairy of Temperament....that's like Marianela Nunez being asked to dance the Fairy of the Golden Vine to someone else's Aurora! Wonder if there were a few injures and they needed a quick replacement who knew the part? 

[Tony Newcombe]

At BRB Principal dancers have always danced multiple roles in Beauty. I remember Natasha Oughtred

dancing a Prologue Fairy, Princess Florine and Aurora in the same run.

[Jan McNulty]

BIRMINGHAM ROYAL BALLET - SLEEPING BEAUTY - WEDNESDAY 21 FEBRUARY 2024 - BIRMINGHAM

 

 

Cast: Princess Aurora - Yu Kurihara

Prince Florimund - Lachlan Monaghan

Lilac Fairy - Eilis Small

Carabosse - Daria Stanciulescu

 

 

Birmingham Royal Ballet opened Sir Peter Wright’s production of Sleeping Beauty at the Company’s home theatre in Birmingham on Wednesday.  It is 40 years since the premiere of this production and it still comes up as fresh as a daisy.

 

This is a traditional telling of the tale and the designs by Philip Prowse are absolutely sumptuous and set the scene right from the start when a page with candelabra walks across the stage to open the curtains on a colour palette of early autumnal colours.

 

The prologue gets us off to a cracking start with the courtiers fussing over the baby Princess Aurora and her parents just so proud of her.  The Lilac Fairy is a character role and the solo for her variation is danced by The Fairy of Joy.  It is particularly effective that the Lilac Fairy and Carabosse are almost mirror images of each other.

 

The Fairy solos were all well danced with Reina Fuchigami and the divine Momoko Hirata both outstanding as the Fairies of Song and Temperament respectively.

 

Daria Stanciulescu îs an impossibly glamorous and gleeful Carabosse well matched by the elegant and serene Lilac Fairy of Eilis Small.  The fairy cavaliers were wonderfully synchronised in their dance.

 

So the prologue ended with Carabosse storming off in her chariot and the Lilac Fairy calming everyone down with her reassurance as the curtain fell and then did a bounce to show us the scene in all its glory again.

 

 

Act 1 started with the garland dance coinciding with the Princes’ arrival.  There was a nice little interaction between the Princes, all vying for attention and studiously ignoring each other.

 

The tension and excitement builds with the music for Princess Aurora’s arrival and we were not disappointed!  Yu Kurihara may be one of the younger dancers but she has a warmth and intelligence in her dancing that make her a joy to watch.  When she came on stage she was all full of wonder and surprise and the grandness of the party for her.  When her father told her she would be getting married she was overawed and then flirtatious with the 4 Princes.  Her rose adagio and the following solo could best be described as sublime.  She was technically very strong but she still gave us the overwhelming impression of a young girl blossoming into a young woman.  Then, of course, Carabosse comes and ruins the party.  The act ends with all the courtiers rushing around and finally calming down and going to sleep as the Lilac Fairy sticks to her promise and causes the forest to grow and hide the palace.

 

After a pause Act 2 gets underway with Lachlan Monaghan every inch the Prince full of ennui with his hunting party.

 

After the blind man’s buff with Gallison ending up by clutching the Prince he sends the hunters off to reflect on his own.  This scene has been shortened over the years but still makes cohesive sense.  As the Prince is wondering what to do the Lilac Fairy arrives and shows him the sleeping Princess.  He immediately declares his love and the fairy attendants appear.  This scene is just luscious with the fairies almost acting as the forest as the Prince and Aurora have a beautiful duet wandering among them as the fairies weave across the stage.  When Aurora has gone we again get the impression of the fairies as the forest as the fairies are teasing the Prince towards her sleeping place in the palace.  Eventually he reaches the forest and the Lilac Fairy guides him through with Carabosse and her attendants trying to stop him.  There is a wonderful confrontation between the Lilac Fairy and Carabosse just before the final awakening.  The walk forward side by side with their arms stretched out and fingers almost touching.  It makes so much sense that they are mirror images.  Of course the Prince finds Aurora and after thinking about the best course of action - ie to kiss her awake - Carabosse slinks off.  The act ends with them embracing as the King and Queen rush on stage.  I gather that the awakening duet was shown in Plymouth but it was not danced in Birmingham.

 

Act 3 is a glittery celebration of the wedding of Princess Aurora and Prince Florimund.  I particularly liked the crisp dancing in the pas de quatre and the Bluebird pdd of Enrique Bejarano Vidal and Sofie Liñares (although Vidal did run a little out of steam before the end of his solo).

 

The gpdd of Yu Kurihara and Lachlan Monaghan was exquisite.  Beautifully danced you could see that Florimund was totally besotted with Aurora.  There were some spine-tingling moments when they were together.  Lachlan Monaghan really is a superb partner and he and Yu Kurihara have been partnered together in a few works recently so you could see how confident they are in each other.

 

Of course the final wedding tableau with the glitter coming down from the flies finished the evening off in grand style.

 

This really is a fabulous production of Sleeping Beauty and all the dancers of BRB did Sir Peter Wright proud in coping so well with what is probably the most technically demanding ballet of the classical canon.

 

 

 

[Tony Newcombe]

And they did it again at this afternoon’s matinee. Absolutely divine. With next year’s rep including Fille and Cinderella, it

is going to be wonderful to watch Miss Kurihara’s progress. She really is very special

[San Perregrino]

Any comments on Cesar Morales penultimate performance? 
 

 

Edited February 24 by PeterS

[Jan McNulty]

yes

[San Perregrino]

Is there the Birmingham equivalent of TodayTix or lastminute.com or a standby ticket scheme of some sort as there are lots of seats still available and I’m wondering how BRB/the Hippodrome is managing to get bums on seats late in the day?

[alison]

Yes, with regard to standbys, but you have to be a Birmingham resident to qualify.  Otherwise, no, I don't think so - I've been hunting on Travelzoo, but nothing there.  If there had been a standby, I might have bought a ticket for the evening and risked staying on for a couple of acts.

[Dawnstar]

6 hours ago, Jan McNulty said:

I gather that the awakening duet was shown in Plymouth but it was not danced in Birmingham.

 

I hope it's performed at Sadler's Wells. I've not seen it before so, having read it was in this production, it was one of the things I was looking forward to seeing.

[Jan McNulty]

I was at both performances in Birmingham on Thursday 22nd.

 

In the evening we saw Yaoqian Shang and Max Maslen with Gabriel Anderson as Carabosse and Tori Forsyth-Hecken as the Lilac Fairy.  I think it was Yaoqian's debut (can @Tony Newcombe confirm?) and a very auspicious debut it was too.

 

Yaoqian's interpretation was lovely - as with Yu on Wednesday evening she was able to convey her wonder at the ball and blossom into a flirtatious young Princess as she was introduced to the Princes.  Her rose adagio was a delight and she was radiant throughout.  I can remember a time at BRB when you could judge how Aurora felt about the adagio by who was dancing the Princes - sometimes all 4 were experienced principals!  No such doubts about Yaoqian though.

 

From his first appearance in Act 2 Max Maslen was every inch the Prince.  He and Yaoqian were absolutely sublime in the forest scene and the gpdd.

 

Tori Forsyth-Hecken was elegant as Lilac and she proved to have the serenity that goes with the role in this production.  Gabriel Anderson was just awesome as Carabosse.  It's the first time I've seen a man dance the role since David Morse retired some years ago.  He really got into the spirit of the role and was very scary!  I can't wait to see him again in the role.

 

I very much liked Reina Fuchigami and Gus Payne in Bluebird.

 

Again the whole company through themselves into the performance and it was a good way to end my Birmingham shows.

 

 

The afternoon performance was both poignant and special as it marked César Morales penultimate performance before retirement and his relocation to his home country of Chile to take up Directorship of the Santiago Ballet.

 

Regan Hutsell made an amazing debut as Carabosse - she scared the life out of me!  She's definitely a dancer to look out for.  Yu Kurihara, fresh from her triumphant Aurora on Wednesday evening had Lilac Fairy pitch perfect.  She and Regan were brilliant foils for each other.

 

César's Aurora was Beatrice Parma, who had made her debut in role with Tzu Chao Chou in Southampton.  Her interpretation of Aurora was a feisty Princess who wasn't phased by all the attention at her party.  She was particularly strong (if you see what I mean) in her rose adagio.

 

César gave us an elegant, heartfelt performance.  His sense of yearning in act 2 was palpable and he was so happy to find the Princess of his dreams.  He and Beatrice were delightful together and looked wonderful, given that she was a new partner.  The gpdd in act 3 was sublime and I never wanted it to end.

 

Of course it was emotional when the final curtain fell.  The packed stalls gave César and Beatrice a long and well deserved standing ovation.  I'm so glad I was there to see César give us his particular magic that afternoon and it is a memory I will cherish.  I guess his final performance will be even more emotional and special.

 

 

(Sadly no curtain call photographs - the staff at the Hippodrome were particularly strict and pounced on anyone who looked as though they were going to take a photograph).

[Tony Newcombe]

In reply to Janet above. Shang has danced Aurora before. It was in 2018. Some wonderful comments about some of the more junior dancers. Reina Fuchigami and Gus Payne danced the “Bluebird” again tonight and were very good. Also Reina danced the Songbird Fairy this afternoon and I think she dances it as well as anybody in the two Royal Companies. She has blossomed since Carlos took over as Director. Time for couple of days rest from Beauty. Still another performance to come from Kurihara and Monaghan. Can’t wait

[Jan McNulty]

7 hours ago, Tony Newcombe said:

In reply to Janet above. Shang has danced Aurora before. It was in 2018. Some wonderful comments about some of the more junior dancers. Reina Fuchigami and Gus Payne danced the “Bluebird” again tonight and were very good. Also Reina danced the Songbird Fairy this afternoon and I think she dances it as well as anybody in the two Royal Companies. She has blossomed since Carlos took over as Director. Time for couple of days rest from Beauty. Still another performance to come from Kurihara and Monaghan. Can’t wait

Thanks Tony.

[maryrosesatonapin]

I loved last night's performance with Gittens/Ball - he was even more princely than usual, and I don't know if it was because I was near the stage but as well as being technically rock-solid she seemed especially powerful in her acting: changing from a shy sixteen year old into a rather show-off young girl enjoying all the attention.  Then later, when she received the lethal puncture, she became a little girl again wanting her mummy.  The supporting cast were variable but on the whole very good; I loved Carabosse and her (his) hench-demons.  I also enjoyed the non-dancing Lilac Fairy. There was a very young girl sitting on one side of me (probably five or six) but she was completely enthralled throughout and perfectly behaved.  I noticed she clutched her teddy extra tight during the scary bits, bless her.  If only all audience members would conduct themselves so beautifully.

The settings and costumes were sumptuous, although I was not sure why there was an obelisk at the back of the stage during the palace scenes - does anyone know?  The whole performance was excellent value at half what I pay for seats at Covent Garden.

[Emeralds]

Did anyone here catch Cesar Morales' farewell performance? Would be interested in any thoughts, reviews or curtain call photos of his last performance with BRB before he leaves for Santiago. Was sad not to be able to attend it on a weekday. I enjoyed all the performances I saw him in - from the classics like Giselle to contemporary masterpieces like Scholz's Seventh Symphony. He'll be sorely missed. 

[Jan McNulty]

I wish I had been there last night but at least I have the memory of last Thursday.

 

There's been curtain call pics and videos all over IG today but only on stories so they will be gone tomorrow.  Looking at the stories Cesar had a brilliant send-off with a flower shower of red roses, bouquets and a speech from Dominic Antonucci.

[Emeralds]

11 minutes ago, Jan McNulty said:

I wish I had been there last night but at least I have the memory of last Thursday.

 

There's been curtain call pics and videos all over IG today but only on stories so they will be gone tomorrow.  Looking at the stories Cesar had a brilliant send-off with a flower shower of red roses, bouquets and a speech from Dominic Antonucci.

Thank you @Jan McNulty- saw those ...ahh..such lovely pics and videos! Hope BRB will put them on the website too. 

[San Perregrino]

On 22/02/2024 at 18:39, alison said:

It should be noted that the Awakening pas de deux at the end of Act II seems to have gone back to sleep again.  I couldn't work out whether it was to keep the running time to under 3 hours, or due to lack of rehearsal time or something.

“Hello BRB please tell me that I’m not going mad….when I saw SB in Southampton (Sat matinee) I’m sure it included the awakening pas de deux, yet this wasn’t danced last night in Birmingham. Am I correct? Thanks”

 

“Hi Peter 👋,

Don’t worry - you’re not going mad at all!

The show was repeatedly running into overtime so was altered after Southampton. 

Hope that helps,

All the best,
BRB”

 

[JNC]

14 hours ago, PeterS said:

“Hello BRB please tell me that I’m not going mad….when I saw SB in Southampton (Sat matinee) I’m sure it included the awakening pas de deux, yet this wasn’t danced last night in Birmingham. Am I correct? Thanks”

 

“Hi Peter 👋,

Don’t worry - you’re not going mad at all!

The show was repeatedly running into overtime so was altered after Southampton. 

Hope that helps,

All the best,
BRB”

 

interesting and thanks for sharing. Seems a shame to cut something that is “unique” to this production, I would have been very interested to see it! 

[San Perregrino]

Just now, JNC said:

interesting and thanks for sharing. Seems a shame to cut something that is “unique” to this production, I would have been very interested to see it! 

The result is that the Prince is rather under-utilised in this production. Unlike the RB version there is no Act 2 dance with his lady after the Blind Man’s Buff, rather she dances/cavorts in front of him (enough to make anyone think twice about taking that relationship any further). Then, after the party goes hunting there is no solo for the Prince to express his sadness and longing for his soulmate followed by the appearance of the fairy. Instead the fairy pops up as soon as the Prince is alone. The Prince does have one show stopping moment in Act 2 when he comes downstage in a straight line executing 3 x 360 degree tours en l’air with one arm above his head. Lachlan Monaghan, César Morales & Max Maslen all excuted this sequence with aplomb.

[Jan McNulty]

This duet was a comparatively recent addition and the hunting scene is shorter than it used to be.

 

I assume the cuts are to keep the performance within 3 hour or the orchestra goes into very short expensive overtime.

 

(IIRC the awakening duet was not praised when it was first introduced.)

[ChrisG]

2 hours ago, Jan McNulty said:

I assume the cuts are to keep the performance within 3 hour or the orchestra goes into very short expensive overtime.

I was at the show yesterday, and it ended at 10.25, so it lasted just under 3 hours. I know from experience how much orchestra overruns cost and with the current uncertainty around funding, you don't want them! By the way, even if he was somewhat shortchanged by the choreography as a result of the cuts I thought Matthew Ball was excellent yesterday, and seemed to have real rapport with Céline. The Act 3 pas de deux was perfection.

[Tango Dancer]

I've just been to the Saturday evening performance in Birmingham. I thought it was overall really lovely.

 

I particularly loved the costumes, such vibrant colours and lovely period looks. All the courtiers looked great and I covet the Lilac fairys outfit very much. I am also full of admiration for how everyone managed the long cloaks.

 

I loved the fairies especially Sofia Linares as Temperament. I also thought the garland dance was beautiful. Special mention to Ellis Small as the countess. I bet she'd be fun to hang out with.

 

Miki Mizutani was exquisite as always, delicately effervescent in the rose adage and with beautiful port de bras. Max Maslen was very good but the Prince in this version really doesn't have enough to do.  Nice jumps and good landings on the spins.

 

I wish the practice of using men for Carabosse would go away. I really don't like men dancing women's parts. I thought it after RBs Cinderella and my view has not changed.  No offence to Gabriel Anderson who does his best, but it just doesn't work for me and looks and walks like a man in a dress not a fairy. I also strongly prefer RBs costume and mime for her scenes.

 

All the Act 3 dances were lovely especially Gus Payne as Bluebird and Reina Fuchigami as Florine.

 

So all in all a great evening of dance, a few quibbles but overall amazing.

[Emeralds]

Lovely review, thank you, @Tango Dancer!