Tchaikovsky’s whimsical masterpiece returns to the London stage through the Birmingham Royal Ballet’s latest production, currently playing until the end of this week. Guillermo Nazara shares his views on the show, to let us know how many roses and pricks are to be found in this new revival of the timeless classic.
It’s been chronicled that, when musicologist Leonid Sabaneyev visited Tchaikovsky with the intention of capturing him for the newly invented, and still much of a prototype, sound recorders, the composer assertively refused. “I am a bad pianist and my voice is raspy. Why should one eternalize it?”, he asseverated. Sadly there’s no evidence to back such a sour statement, but what we do know is that the Russian composer didn’t hold too kind views upon himself – that, many times, also including his talent. A conflicted soul haunted by the crushing pressure of fame and reputation, combined with the personal anguish stemming from the fear of a repulsively retrograde society finding out about his sexuality, the turmoil that whirled within him was, nonetheless (or perhaps, unsurprisingly), the grounds from the lush, sentimental allure that secured his place in posterity.
A pioneer in the ballet art form as we know it today, the embellished charm of his Sleeping Beauty score is perhaps the fondest to the hearts of most of us – maybe due to the nostalgic element that the Disney film seeded in us through the use of his music. A classic, simple tale about the power of love and good overcoming evil, it’s the lavishness of its evocative melodies and sumptuous textures, provided by the rich, suggestive colour of his signature orchestrations, that makes the reverie and turns it into a reality.
With a similar structure as The Nutcracker, going from a long exposition to a somehow hasted clash to resolve in a showcase of soloist renditions (this time, the excuse being a grand ball celebration instead of the toy theatre), the appeal of the piece is, in fact, the main (or only) reason why you would go experience it: aesthetics for the sake of aesthetics. Luckily enough, the Birmingham Royal Ballet knows how to do justice to that idea.
The Sadler’s Wells hosts this week the last stop for the company’s revival of Tchaikovsky’s masterwork. Directed by Sir Peter Wright, the montage is an impressive, opulent display of visual enchantment – especially by the standards of a touring production. Featuring boisterous sets, combined with an unending parade of highly intricate costumes (both by Philip Prowse), the show is, by all means, an utmost extravaganza of stylized grandeur – transporting us into an enveloping universe of true fantasy driven by the childlike wonder of the author’s genius.
Fairly supported by a traditional yet dramatically effective lighting design (credit to Mark Jonathan), the performance succeeds in its narrative efforts – regaling us with an uncomplicated but engaging account – surpassed, however, by its plastic pizzazz. A great deal of this achievement goes beyond its scenery, with some superb renditions to be enjoyed all throughout. A first mention is undoubtedly deserved by the whole male ensemble, delivering their numbers with such refreshing level of detail, technical ability and absolute command of their movements, they manage to merge into single role worthy of a standing applause.
In addition, Lachlan Monaghan gives a marvelous portrayal of the Prince, exuding all the previous virtues while also endowing his role with presence and flair. On the other hand, Yu Kurihara gives a satisfying interpretation in the title part, boasting method and dexterity, but sadly still not enabling her depiction of Sleeping Beauty with enough ease and flow to prove full internalization of both choreography and personage.
A similar issue is to be spotted in the orchestra. Conducted with grace and some emotional force on the whole, one can’t help but notice a few bumps in the execution, particularly during the piece’s opening, where the phrasing (especially, in the strings section) is not given enough attention – thus, erasing part of the strength of Tchaikovsky’s motifs and arrangements by deleting some of the complexity of its layers, while also making some sections sound a bit plain. In relation to that, there are is also a slight lack of coordination between strings and woodwinds in some excerpts (its most famous –Disney-fied as “I know you…”-), with some instruments unfortunately not playing fully on beat.
Yet, those are only some minor problems that won’t prevent you from going on a genuinely fanciful (sometimes, quintessential) journey – nor the show from still be considered a great accomplishment in many of its aspects. Boasting an obvious passion and care for their craftsmanship, and putting almost a century of wisdom into their creativity, the final result is nothing but a proud effort which, by all means, is worth a watch or two. There’s some tweaks to be made, but the general vibe is extremely laudable. By the end of the night, they’d managed to build up a dream that’s still hard to wake up from.
All pictures credit to Tristam Kenton.
The Sleeping Beauty plays at London’s Sadler’s Wells Theatre until 27 April. Tickets are available on the following link.
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