Staging the 1890 classic The Sleeping Beauty in the 21st century is not an easy task. Recent studies, discoveries and even philological reconstructions have heightened historical and stylistic awareness among dance-goers, thus generating expectations that cannot be easily overlooked. Yet philology and historical accuracy alone turn any work into a dead museum exhibit, at the expense of its vibrant theatricality. New ideas must thus be sought to enliven the old text and to make it viable for contemporary audiences.
These issues are particularly sensitive ones for the Royal Ballet, given that Beauty is, historically, the company’s signature work and the classic that has suffered most in the company’s recent history, thanks to two unfortunate productions: the one staged by Anthony Dowell in 1994 and the one signed by Natalia Makarova in 2001.
The idea of revisiting the now legendary 1946 staging designed by Oliver Messel is an excellent one, for it combines a heartfelt tribute to history, both the company’s own and the ballet’s, with a celebration of the latest trends in performance tradition.
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in