As one of the hangovers from Scottish Ballet’s more conservative past, the annual Christmas production is a testament to Ashley Page’s ability to integrate his modern vision with traditional entertainment. Pitching his choreography somewhere between the classical spectacular and the contemporary influences that have marked the company’s other seasons, Page creates an entertainment that is sumptuous and witty.
In spite of a slight stiffness in some of the corps de ballet, and the occasional ragged male ensemble, Scottish Ballet has talent in depth. Within Sleeping Beauty, Page allows the various strands to shine. Kara McLaughlin evokes Balanchine through Carabosse’s angular energy. Princess Aurora, performed with precision by Martina Forioso, is a character-driven take on the Royal Ballet heritage, while the solos and duets of the wedding feast pay tribute to the sensual kitsch of Stephen Petronio. Paige deliberately invokes these influences, simultaneously offering the grand show and a brief introduction to Scottish Ballet’s direction.
Antony McDonald’s set design handles the shifts in eras between acts with suggestive panache - his costumes, in conjunction with Michelle May, are elegant, witty and evocative. The drama moves elegantly, and the integration of traditional and modern story-telling makes this Beauty rewarding both intellectually and visually.
Production information can change over the run of the show.
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