You can’t go wrong with Tchaikovsky, except perhaps if you’re listening to the 1812 Symphony. And you can hardly go wrong with the English National Ballet. It doesn’t take another genius to realise that combining the two will likely result in a tour de force. But it might take a trip to the Royal Albert Hall to believe how extraordinarily well-presented this year’s revival of The Sleeping Beauty is, which seems to have awakened a new level of craftsmanship within the company.
It is that impeccable. Even if you acknowledge the defects, which are minor and scarce in any case. Restoring Sir Kenneth MacMillan’s refined version of Tchaikovsky’s timeless work, last night’s performance provided audiences with everything they could ask for in an upscale celebration of world-class art and talent. And sometimes, even more.
The production has come up with some magic of its own when resurrecting the popular fairy tale. Visually, it’s an utmost treat. A clever use of projection mapping transforms the stage into a breathtaking Renaissance universe, where ink sketches of Aurora’s palace splatter across the backdrop, set against dramatic Raphaelite skies.
A simple approach. And yet, so beautiful and effective. Not only does it confer elegance to the design, but it also bestows a sense of childlike wonder upon it. The very same wonder that the original piece is ingrained with. In some way, it’s like watching a massive pop-up book come to life. It’s a whimsical experience. And although the animations featured during the Overture come across as repetitive and slightly lazy, the final impression is nonetheless arresting.
The same praise goes to the costumes, which are exquisitely intricate and stylish. Inspired by 1700s European clothing, Nicholas Georgiadis’ guises are a triumph in every respect. They ooze historical charm while also bringing a whimsical twist, keeping both qualities faultlessly balanced — fanciful yet realistic; eye-catching yet tasteful; sumptuous yet subtle.
Consequently, all the staging elements come together as an opulent spectacle of theatrical grandeur. Far from spinning its wheels, it puts the viewer under its spell with absolute command. And deservingly so.
Played by the English National Ballet Philharmonic, Tchaikovsky’s impassioned score overflowed with sensitivity and colour throughout the entire execution. Maria Seletskaja’s conducting demonstrates excellent understanding of phrasing and layering, with most sequences swarming with spiritedness, delicacy, and bravura, despite an offbeat oboe in a couple of bars.
The entire troupe delivers what’s arguably the best performance the English National Ballet has put onstage in the last few years. The degree of precision some dancers display truly nears perfection. And it’s all done with magnificent effortlessness, allowing MacMillan’s choreography to flow seamlessly with a misleadingly easy appearance.
On that point, both Emma Hawes and Aitor Arrieta earn the highest praise as Princess Aurora and Prince Desire, in an exceptional rendition that teems with technical flawlessness, flair, and chemistry.
A superb act that brings the very best of every craft, the English National Ballet has added a new jewel to its 2026 repertoire. And it wouldn’t be far-fetched to say this might be the shiniest in the lot — including the remainder of the year. Lush, dazzling, and remarkably polished, the production is a fine example of superb artistry put in the most competent hands — even if one of those is pricked.
Help us continue our work
We count on your support to keep bringing the greatest quality in theatre-related content, from interviews with the biggest names in the industry to reviews of every show in town and beyond.
We appreciate every donation to maintain our high pace and standards and continue to grow.
Thank you for believing in us!
***************************************************
All pictures credit to ASH.
The Sleeping Beauty plays at London’s Royal Albert Hall until 28 June. Tickets are available on the following link.