Birmingham Royal Ballet - Sleeping Beauty, Spring 2024

[Jan McNulty]

I was at the opening night at The Lowry last night.  

 

I thought it was a glorious evening led by Momoko Hirata, Max Maslen and Daria Stanciulescu.

 

I was privileged to see Momoko's debut in Birmingham some years ago (with Alex Campbell as her Prince!) and it was such a special afternoon.  She really is one of my favourite Aurora's and I count myself lucky to have seen her perform the role on a number of occasions.  She has never disappointed!  She was absolutely exquisite last night.  In act 1 she was a princess who definitely knew her position and was full of joy.  She was surprised when the King told her she was to marry and she was deliciously flirtatious with the Princes in a glorious rose adagio.  Just WOW!!!

 

Max was every inch the "fallen in love at first sight".  Daria delighted in her annoyance and evilness.  I must mention Rory Mackay as Catalabutte.  He brings such a humanity to the role that it is heartbreaking to see how Carabosse treats him.  

 

Act 3 was just dazzling and the gpdd sent shivers of delight down my spine and brought on an attack of hay fever.

 

It had been a fabulous evening!  

 

 

[northstar]

Thanks all for the reviews of this run of BRB Sleeping Beauty. I attended Saturday matinee and evening performances at the Lowry, led by Miki Mizutani/Lachalan Monaghan and Yaoqian Shang/Max Maslen respectively. 

 

This sensational, spectacular production has been a huge part of my ballet appreciation for 20 years, and I was very glad to see it again in Salford, after the previous visit in 2018.  

 

Mizutani I find incandescent in everything she does, it was the first time I had seen her as Aurora. She seems to inhabit the character with such delicate nobility and meets the virtuoso demands with ease, she gave me everything I could ask for - everything anyone could ask for, surely. The prince in SB has such scant individual opportunity but in the showpiece solos in Act II and especially Act III I was stunned by Monaghan's mastery. I would also mention the Bluebird and Enchanted Princess pdd with Enrique Bejarano Vidal as Sofia Liñares as a highlight, it was notable for it's intention and poise. 

 

In the evening performance Shang had an ebullience and brilliance which felt very fresh and engaging to me. I've not seen her dance much, I think I've only seen her in a lead role in Bintley's Aladdin years ago. Max Maslen's presence as the Prince was stately and assured. 

 

Having racked up a few BRB SBs now I did think of differences over the years and I did notice this time there was no awakening pdd adagio, thanks very much for the confirmation on this thread and for the reasons why, very interesting. It's a lovely and unique feature of this production, but while I admire it in isolation, I have to say I always felt there is an element of it not quite fitting with the atmosphere of the whole work. And perhaps it's a symptom of having seen it so many times, or seeing multiple performances in a week/day, but I thought on this occasion the slightly shorter running time was an advantage. 

 

I also reflect on the BRB Lowry schedule. I have been used to in previous years seeing 6 performances in a run, I recall Wed-Sat with two matinees. Since 2023 I think the spring visit (no autumn visit since 2018, another story) is only Thu-Sat with one matinee. Can't help feeling a little sad about this. Nonetheless I'm grateful to have BRB come to the Lowry full stop, and conscious of such a privilege to see such a production, whose quality in all respects must equal or surpass any other production worldwide.

 

I especially enjoy this late winter/early spring visit to Salford which for me is as much part of spring as seeing the daffodils come up.  

Edited March 11 by northstar

[alison]

Those cut-down seasons seem to be the norm now, unfortunately. I guess it's a cost-cutting measure ☹️

[San Perregrino]

1 hour ago, alison said:

Those cut-down seasons seem to be the norm now, unfortunately. I guess it's a cost-cutting measure ☹️

With all the costs of getting to a touring location already incurred be the run 4 or 6 performances, I think if they could get the bums on seats the costs of extra days would cover themselves. Rather it’s that the audience has shrunk due to personal finance pressure ands changing tastes. 

[SheilaC]

16 hours ago, PeterS said:

With all the costs of getting to a touring location already incurred be the run 4 or 6 performances, I think if they could get the bums on seats the costs of extra days would cover themselves. Rather it’s that the audience has shrunk due to personal finance pressure ands changing tastes. 

Actually, Peter, the reduction in performances on tour started some while before Covid and the reduction in personal incomes.

Caroline Miller, the highly effective CEO of BRB, was on the Today programme on Radio 4 at 8.50 this morning talking about how the funding from Birmingham City Council has fallen in 10 years from one million pounds to nil (the year after next). She said that the company employs about 200 permanent staff, as well as many freelance and occasional staff. She was positive that the company would be able to find sufficient financing from other sources to survive, unlike the other, much smaller, arts company that was also interviewed, whose spokesperson made the point that small companies have an important role in helping develop some artists and staff who later join and contribute to the major arts organisations.

[northstar]

Thanks for the discussion and information on the audiences and touring changes, this is most interesting. 

 

Just to add. For this Sleeping Beauty run at the Lowry on the Saturday matinee the house was getting near capacity, as full as I ever seen this theatre for ballet, I was in the upper circle and empty seats were hard to spot. For Sat eve  the front circle was filled well, but a lot of the upper circle was sparse/empty apart from the front row - I think this a lot more 'usual' in my experience. 

 

I've found it very hard to gauge audience attendance over the years, I've often sat in very sparse theatres, but sometimes packed ones. I had already noticed changes in BRB touring which pre-dated the pandemic, and weren't positive for me up here in NW England. I imagine there are many factors involved, I wasn't aware that the council funding is being completely removed by 2026. Thanks ShielaC for the info about the Caroline Miller interview she did at least provide some reassuring words that the cuts could be managed. 

[SheilaC]

Audiences in Sunderland were good, both in size and appreciation. There was warm applause but the level of applause for individual solos varied according to how well they were danced- the audience was fairly discriminating.

 

Momoko was well nigh perfect, both technically and in charting the development from excited young girl to more mature womanhood. And her smile... so similar to Margot's in warmth, lighting up her face, and the use of her eyes. Yu is very much a ballerina in the making. Her poise and technique as Aurora are impressive and as the Lilac Fairy she had the gracious authority so essential to that role, reminding me of how Maggie Barbieri shone in it in the early days of the production. Miki didn't dance in Sunderland but when I saw her in Birmingham I was very impressed by her technique and control as I was by Shang, always such a musical and lyrical dancer.

 

My feeling is that the women are stronger than the men but the young Cuban dancer, Bello. of whom Acosta has great hopes of future stardom, dancing his first performance in Sunderland, displayed spectacular technique and wonderfully soft landings, partnering a radiant Celine.

 

Some reviewers and fans feel that the production is showing its age but overall I think that the choreography, the costumes, the clever scenery, have worn well although nowadays one might expect less traditional mime.

[Jan McNulty]

I saw this production in my first year as a ballet-watcher in 1984 at the Liverpool Empire when the company was still Sadler's Wells Royal Ballet.  I've seen it many times over the intervening years.  One of the most memorable Auroras for me was Sandra Madgwick.  I saw a performance at the Royal Opera House where her rose adagio was so glorious I cried.  Not only was she the princess but her technique was so impeccable and she was holding her balances for so long that the orchestra had to slow down!

 

Since then over the years BRB had some Auroras who were, perhaps, not quite ready for the role.  You could tell how confident the company were that the dancer would get through the rose adagio by the number of principal men dancing as a prince in that scene.

 

Then along came Nao Sakuma and Ambra Vallo and the Auroras were right up there again.

 

This year, I have been able to catch seven performances (including 3 in Sunderland this past week).  I can say that they have been some of the best I have seen Birmingham Royal Ballet perform - not only the glorious Auroras, Princes, Carabosses but the whole company.

 

So onto Sunderland and Thursday evening.  Yu Kurihara continues to impress as the Princess.  In act 1 you can she is thrilled to be at her first "grown up" party.  She's initially overwhelmed when her father tells her she is to marry but then you see her visibly blossom and flirt with the princes.  Of course, Lachlan Monahan is her perfect prince and their duets in the vision scene and the gpdd sent shivers running down my spine.  Gabriel Anderson was very scary as Carabosse!

 

What a treat on Friday afternoon!  The sublime Celine Gittens gave us a divine performance as Aurora - every tiny little gesture had meaning.  Her prince was soloist Yasiel Hodelín Bello.  He is a very fine dancer with a gorgeous leap and silent landings and he acted the love-lorn prince very well even if he ran out of a bit of puff towards the end of the gpdd.  Daria Stanciulescu gloried in her evilness as Carabosse.  Of the Lilac Fairies I have seen during this run Tori Forsyth-Hecken had the most authority on stage and she was a great match with Daria.

 

So on Friday evening we were treated to the truly awesome Momoko Hirata who was absolutely transcendent in her performance.  What a privilege it was to be in the audience.  At this performance her prince was Tzu-Chao Chou who was brilliant.  Regan Hutsell was ferociously scary as Carabosse and while Yu was a beautiful Lilac I felt that Carabosse had the best of her on the night (if you see what I mean).

 

Of course the rest of the company was on superb form and they all contributed to making the performances so very enjoyable.  Dancers I particularly enjoyed watching in various roles were Reina Fuchigami, Rosanna Ely, Olivia Chang Clarke, Gus Payne, Ryan Felix and Jack Easton but I feel almost unfair in selecting them above anyone else.

 

Sadly I had to miss the final performance of the week but what a wonderful three performances I had seen.

 

BRB are most certainly on fabulous form!

 

[maryrosesatonapin]

4 hours ago, Jan McNulty said:

 One of the most memorable Auroras for me was Sandra Madgwick.  I saw a performance at the Royal Opera House where her rose adagio was so glorious I cried.  

 

Oh, I remember Sandra Madgwick's Aurora and I had the same response.  She was such a lovely, and I felt unsung, dancer.  We always tried to get to performances where she was dancing in any role and she never disappointed.  

I also adore Hirata.  I booked three performances this time before knowing the casts, and struck lucky with Céline Gittens (and Matthew Ball) for the first one.  I am eagerly looking forward to Alina Cojocaru's performance in London, but also have tickets for Bristol where the main dancers are Parma/Chou. With no offence meant to the other principals, I felt a bit sad that Hirata didn't feature in my 'lucky dip'.

[MJW]

Based on the above positive comments, I've booked to see BRB at Sadlers Wells next month.

[Emeralds]

Are you free on Saturday 27 April for the matinee at Sadler's Wells in London, @maryrosesatonapin? Momoko Hirata is currently scheduled to be dancing that performance.  (Cast changes can occur, of course. )

[maryrosesatonapin]

1 hour ago, Emeralds said:

Are you free on Saturday 27 April for the matinee at Sadler's Wells in London, @maryrosesatonapin? Momoko Hirata is currently scheduled to be dancing that performance.  (Cast changes can occur, of course. )

Oooh, that is tempting.  I am booked for the evening performance of 17th so will have to consider whether I can fit in a double 'Sleeping Beauty'.  Thank you @Emeralds.

[Tony Newcombe]

After tonight’s Sleeping Beauty performance in Plymouth, Carlos Acosta came on stage and announced the promotion of Beatrice Parma to Principal Dancer with BRB. 

[Odyssey]

You pipped me to it Tony. What a lovely and well deserved surprise. Will write about the performance tomorrow . 

[ChrisG]

12 hours ago, Tony Newcombe said:

After tonight’s Sleeping Beauty performance in Plymouth, Carlos Acosta came on stage and announced the promotion of Beatrice Parma to Principal Dancer with BRB. 

Well deserved - I first really noticed her as Maggie in Hobson's Choice and she's been on an upward trajectory ever since. Must admit I was half expecting this announcement after her Salford performance the other week!

[Emeralds]

Congratulations to Beatrice! I thought she had star power as Maggie in Hobson's Choice at Sadler's Wells in June 2019 and that impression has stayed the same since- she always delivers artistry, charisma and technical mastery in her roles. Funnily enough, her Will Mossop was Max Maslen and I thought he too had star power then-  both are principals now which is fantastic  

[Odyssey]

I first saw this production in Birmingham during its inaugural season as BRB  ‘back in the day’. I loved the splendour of it then, with its sumptuous costumes and recreation of the court of Louis XIV, and I have continued to enjoy it over the years - and Thursday evening’s performance was no exception. I refute the suggestion I read in one review that this production is old fashioned and showing its age. I can’t imagine anyone not feeling the magic or appreciating the quality of the design. Some of the notable decisions made by Sir Peter Wright, such as making the Lilac Fairy a non-dancing role, setting the first interval after the Prologue and the curtailing of some of Act 3 still make sense to me.

Like Tony, I was excited to witness the onstage promotion of Beatrice Parma to Principal which was warmly received by a packed theatre . I think Carlos Acosta is so right in making these announcements public in this way. I wish Kevin O’Hare would do the same. 

I found Beatrice a very promising Aurora whose confidence blossomed as the performance progressed. I saw her in rehearsal, coached by Darcey Bussell, on the BRB website, so it was interesting seeing, what I believe was, only her second attempt at the role.  Understandably a little tentative in the Rose Adagio balances, she nonetheless displayed a secure technique with gorgeous shaping and movement of her upper body. In the following variation she visibly relaxed, and the exhilaration of a young girl who finds herself the centre of attention at a ball, held in her honour, came through. I thought she showed a nice contrast in the vision scenes of Act 2 where there was a suitably serene and softer quality to her dancing. Her Prince was Tzu Chao Chou, whose partnering was exemplary and who, from the moment he awakens Aurora , right through the whole of the final act, looks like the cat who has got the cream!  The Wedding pas de deux, particularly the first variation, was clearly well rehearsed and rather splendid - the fish dives were impressive and the parallel arabesques beautifully together. 
Elsewhere, I would single out Olivia  Chang Clarke as the Fairy of Song and Yu Kurihara  as the Fairy of Joy, who successfully captured the spirit of their respective characteristics, both evidently, comfortable in the technical demands of their variation. Reina Fuchigami was a lovely Princess Florine - definitely a dancer to watch .

A mention to, to the wonderful Kit Holder as Gallison ( the Prince’s aide). Like the very best character dancers, he squeezed every ounce out of this relatively small role and entertained us with his prissiness. 
I was slightly disappointed with Gabriel Anderson’s Carabosse. Although he demonstrated the carriage and stature of a haughty and potentially menacing evil character, his mime didn’t convince me and at times he seemed to be playing, rather than inhabiting the part. But I do have fond memories of both the wonderful David Morse and Marion Tait in this role.

The Royal Ballet Sinfonia were at their magnificent best, with Paul Murphy setting a pretty spirited pace throughout. 
Altogether a lovely evening.

 

 

 

Edited March 23 by Odyssey

[alison]

I saw Parma in a matinee in Birmingham a few weeks ago: I don't know whether she danced it again, and/or whether it was indeed her debut, but she certainly impressed me.

[Jan McNulty]

6 hours ago, alison said:

I saw Parma in a matinee in Birmingham a few weeks ago: I don't know whether she danced it again, and/or whether it was indeed her debut, but she certainly impressed me.

 

According to the downloadable cast sheets on BRB's website Beatrice made her debut on the Saturday evening in Southampton at the start of the tour.  I think some injury/illness problems caused the switching around of casts during those few days.

 

[Odyssey]

That means Plymouth was her third performance - one more than a RB principal would typically get in a run and two more than a first soloist as Beatrice is currently this season - I haven’t looked to see if she’s scheduled to dance in Bristol or Sadler Wells. 

On a not unrelated note, I found it interesting listening to Alexander Campbell talking fondly about his time with BRB and the opportunities it gave him to develop as a dancer. (The link this interview is on the farewell/ appreciation of Alex thread).

Edited March 24 by Odyssey

[Emeralds]

Really looking forward to this at Sadler's Wells after reading the glowing reports! 

[alison]

It ... glows 😀

[San Perregrino]

BRB regrets to announce that due to unforeseen personal circumstances, Alina Cojocaru will not be performing with the Company at Sadler’s Wells theatre on 25th & 27th April as previously announced. Updated casting for our Sadler’s Wells shows is available on our website.

 

The Sleeping Beauty

Sadler's Wells

Thursday 25 April 2024

Aurora*Miki Mizutani

Prince*Max Maslen

ConductorPaul Murphy

* Change from the originally advertised casting

 

The Sleeping Beauty

Sadler's Wells

Saturday 27 April 2024

Aurora*Yu Kurihara

Prince*Lachlan Monaghan

ConductorPaul Murphy

* Change from the originally advertised casting

 

 

 

 

 

 

[alison]

I've moved the reactions to this announcement to the thread in News, here:

 

 

[capybara]

Alina’s SB is undoubtedly one of the great ballet treasures and many of us were hoping to catch her in the role as time is passing.
However, when this sort of cast change has happened previously, one of the outcomes has been to introduce ‘new’ dancers to an audience who would not otherwise have seen them.…… and, from what our trusty BCF reviewers are telling us, both Miki and Yu are super Auroras.

 

 

Edited April 6 by capybara

[art_enthusiast]

I had a ticket for Alina Cojocaru's 25th April performance now featuring Miki Mizutani and Max Maslen. I still want to go as I've never seen BRB's Sleeping Beauty (though it's not my favourite ballet overall, I did mainly book to see Cojocaru as Aurora). Can anyone more familiar with BRB dancers give me some info about these two? In the last Sadler's Wells Don Quixote run, I was fortunate to see Momoko Hirata and Beatrice Parma and both are of course superb, but I'm not too familiar with the others. 

 

Also is this version of Sleeping Beauty basically the same as the RB's without the Prince's Act 2 solo?

Edited April 7 by art_enthusiast

[Jan McNulty]

Miki is absolutely sublime as Aurora and Max Maslen is every inch the Prince.  It's a fabulous cast (as all the ones I have seen in this run have been).

 

BRB's is my favourite production of a traditional Sleeping Beauty.  It is not the same as the RB production.  @annamk ' s report on page 2 of this thread is well worth a read.  

 

 

[Tango Dancer]

32 minutes ago, art_enthusiast said:

I had a ticket for Alina Cojocaru's 25th April performance now featuring Miki Mizutani and Max Maslen. I still want to go as I've never seen BRB's Sleeping Beauty (though it's not my favourite ballet overall, I did mainly book to see Cojocaru as Aurora). Can anyone more familiar with BRB dancers give me some info about these two? In the last Sadler's Wells Don Quixote run, I was fortunate to see Momoko Hirata and Beatrice Parma and both are of course superb, but I'm not too familiar with the others. 

 

Also is this version of Sleeping Beauty basically the same as the RB's without the Prince's Act 2 solo?

 

That's the cast I saw in Birmingham and they were really good.  Miki is a lovely effervescent Aurora, incredibly light and delicate and with beautiful port de bras and a sort of gossamer fine technique that makes everything look so effortless.  I've seen her in a few things and always liked her.  Max is a newly promoted principal dancer and I can see why they promoted him.  He's great and has a lot of potential combined with nice feet (also he's from Yorkshire which is a big plus in my view).  He's a lovely light jumper with lots of energy and really comes across as a young prince looking for his dream.  I do think the prince needs more to do in the ballet overall but he does it really well.  So I think they're a good cast to see and work well together as a pairing.  

 

I think it's similar to the RB version but I like the costumes a lot better because they're so lovely.  The only thing I like better in RB is Carabosse who I think has better choreography.  

[northstar]

On 07/04/2024 at 14:48, art_enthusiast said:

I had a ticket for Alina Cojocaru's 25th April performance now featuring Miki Mizutani and Max Maslen. I still want to go as I've never seen BRB's Sleeping Beauty (though it's not my favourite ballet overall, I did mainly book to see Cojocaru as Aurora). Can anyone more familiar with BRB dancers give me some info about these two? In the last Sadler's Wells Don Quixote run, I was fortunate to see Momoko Hirata and Beatrice Parma and both are of course superb, but I'm not too familiar with the others. 

 

Also is this version of Sleeping Beauty basically the same as the RB's without the Prince's Act 2 solo?

 

@art_enthusiast I very much agree with Janet's comments above. I rate Mizutani as highly as any ballerina I've seen (live or otherwise). I don't visit RB but I've seen Cojocaru dance live (several times with ENB, most recently an astonishing performance in Sleeping Beauty in 2018). Other 'names' outside BRB I've seen live include Sylvie Guillem, Tamara Rojo, Jurgita Dronina. Mizutani is up there with all of them in my opinion (and must say - so are many other dancers in BRB). Her mastery of the art form, particularly in the last couple of years, I have found so convincing and thrilling (particularly since 2022 leading DonQ, Coppelia, Swan Lake). I would travel to see Mizutani dance and am currently considering travelling to see her again in Sleeping Beauty in BRB's current tour. I saw her in Salford in as Aurora in March with Lachlan Monaghan (which I posted about earlier in this thread) and don't think I adequately expressed how much I admired her performance. 

 

Max Maslen is an exquisite dancer who has similarly risen to mastery in the same cohort as Mizutani. I first really noticed him in Bintley's King Dances years ago, and he fills me with confidence when appearing in any leading role - I saw him in Salford too as the Prince, but not with Mizutani. He is without doubt a principal dancer who would grace any stage or company worldwide. 

 

So it's a fabulous cast exactly as Janet says. I can understand and sympathise with those who booked specifically for Cojocaru, as I have done so myself in the past. But if you've got a ticket for Mizutani and Maslen in Sleeping Beauty, that's a sensational rare treat to look forward to. 

Edited April 9 by northstar

[FionaM]

BRB held two one hour shows at Bristol Cathedral today, as a teaser advertising their Sleeping Beauty shows here next week.   I went to the first of the two shows as the second clashed with the RB cinema relay.  
 

The show included:

- a 20 minute condensed class by Jonathan Payn for Ava May Llewelyn and Gus Payne.  Always good to see Ava May back in her native Bristol.

- Then there were 3 fairy solos by Eilish Small, Alisa Garkavenko and Lucy Waine.  Lucy did well with all bar the last pirouette of the difficult solo which RB audiences would recognise as the Lilac Fairy solo.

- After this the compère Tom Rogers explained some of the mime with Gabriel Anderson as Carabosse and Tori Forsyth-Hecken as Lilac Fairy demonstrating.  
- Gus Payne returned to partner Reina Fuchigami in the Bluebird pdd (adagio)
- Miki Mizutani and the young Cuban Yasiel Hodelin Bello (such a young face) gave a really good rendition of the Act 3 pdd adagio.

 

All the dancers were fully made up in costumes, tiaras, makeup and performed on a smallish stage with lighting, all brought along by BRB.  There were other costumes on display around the cathedral.   A lovely event!  
 

The booklet included a 20% discount code for attendees.  Not much use to me as I’ve already booked to see them!  However … Miki and Yasiel impressed me so I may well book for their show in Bristol too. 
 

I’m not entirely sure why BRB are offering a discount as the shows are close to sold out in stalls and first circle.  Though there is good availability in the cheapest seats in the upper tier.  

 

Edited April 9 by FionaM
Typos

[Emeralds]

Thanks for the report about this interesting event, @FionaM! I think it's brilliant initiative to take ballet as an introduction or "teaser event" to new places outside a conventional theatre or opera house. Was the event free or was there a charge (if so how much?) 

 

Great news to hear that they are close to sold out in the stalls and first circle! I'd say the event was successful if it made you consider buying another ticket to see Miki and Yasiel.  😀

 

 

Edited April 10 by Emeralds

[FionaM]

@Emeralds nothing for free these days!

 

£20 tickets, for an hour long show. 
 

Small stage with audience on 3 sides.  

 

There were probably 300 or even more at the show I attended.  
 

I wonder if that raises enough to pay venue, transport costs, etc.  Maybe it doesn’t have to if it sells more tickets 👍

 

Host Tom Rogers said it was the first time in such a venue.   

[lady emily]

After Alina Cojocaru's withdrawal from performances I am contemplating which cast I would like to see. I have never seen the BRB before in-person so am not so familiar with the dancers of the company. I currently have tickets to the Saturday evening performance with Yu Kurihara. But I get the impression on this thread that the superlative performance with the BRB is Momoko Hirata's Aurora. Is this the performance I shouldn't miss? It would be a no brainer for me to shift my tickets (and avoid the late train back from London) to her matinee performance but the stalls seats left for that performance are very limited to the sides and towards the front. I have never been to Sadler's Wells so am not sure how impacted the view would be from the far end of row C.