Classic Beauty
The curtain rises on a fairy-tale and the theatre around me all but disappears. There is the sensation that I am turning the pages of Charles Perrault’s 1697 telling of Sleeping Beauty.
Continua a leggere
World-class review of ballet and dance.
The curtain rises on a fairy-tale and the theatre around me all but disappears. There is the sensation that I am turning the pages of Charles Perrault’s 1697 telling of Sleeping Beauty. That the clock has been rewound. That I am within a castle’s courtyard, surrounded by a succession of contiguous white arches set against viridescent and ordered vegetation. The palette is plucked from the Baroque because I am now, like the characters, in the Baroque period. It is fantasy, beauty, and embellishment, but with a distinct made of paper feel. The sky overhead, a perfect shade of blue on the page. And the costuming of those gathered reflects a blue-sky day. The royal attendants of the Stuttgart Ballet are wearing satin gowns and fitted jackets as if fashioned by the gentle air currents, and their white wigs, a cumulus upon their heads. Marcia Haydée’s “The Sleeping Beauty,” presented by the Australian Ballet, at the Regent Theatre, Melbourne, is a magical fable. It has been some fifty years since the invited company, the Stuttgart Ballet, were last here and the effect is entrancing. Unlike Carabosse, my invitation was received, and the opportunity to lose myself in the classic is one I heartily accept.
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The curtain rises on a fairy-tale and the theatre around me all but disappears. There is the sensation that I am turning the pages of Charles Perrault’s 1697 telling of Sleeping Beauty.
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