“Enthralling retelling of a classic – danced to perfection”

I remember my first Matthew Bourne – I was in sixth form and we went on a trip to Edward Scissorhands. When I left for the first time I understood dance, felt it in my soul. Yesterday as the school trips piled into the spectacular Sadlers Wells I felt sure they were about to have the same revelations. 

We all know the classic story, whether it’s Disney or the darker Brothers Grimm but Matthew Bourne’s ballet brings the story to a modern audience whilst respecting the traditional crafts that influenced it.

Following the familiar narrative of a king and queen blessed with a child (who terrorises the staff), the child is portrayed by delightful puppetry. Cursed by Carbosse but curse forgotten she grows and falls in love, this time not with a Prince but a Palace grounds keeper. Though a subtle change Bourne’s choice enhances the drama and their love. Aurora is then sabotaged by Caradoc (Carabosse’s son) and falls into her cursed sleep. The rest you know – well aside from the vampires. What’s striking is that for a production which is 10 year old the choices still feel current and edgy without feeling forced. 

The set designed by Lez Brotherston is sheathed by a stunning disney esque curtain, often utilised as a projector screen. The projections are akin to pages in a book, or the slate screens in silent movies, moving the action along with narration. Other glorious set moments include the giant moon, the gates and the treadmill floor imperative to the choreography.

Costumes are opulent and magical fit to perfection, particularly playful when looking at the ‘gothic theme’. One big miss for me though was the awkward tattoo body of villain Caradoc – with an audience member next to me guffawing loudly when he ripped off his shirt for this reveal.

Bourne’s genius shows through the sheer volume of influence, his choreography channelling elements of pantomime, farce, ballet, opera and many more. The references go to creating a diverse scene full of depth, you could watch the show multiple times and miss small moments of background action. Big call out to my scene stealer of the night Cameron Flynn, with the most engaging background acting. Aside from that the choreography is creative, challenging, flirty, feisty and representative of difference.

I can’t finish this review without highlighting the sublime skills of Aurora (Ashley Shaw) and Leo (Andrew Monaghan). Shaw is quite frankly one of the most engaging dancers I’ve ever seen, her ability to be weightless and heavy is awe inspiring. Particularly the sleep scene with Caradoc (Paris Fitzpatrick) the impressive choreography made easy.

Chemistry between Shaw and Monaghan was palpable, infact at some points during their garden duet I completely forgot to breathe. 

But Natalie surely this is a 5* show with everything you’ve said. Well you’d be right if it weren’t for one sadly missing element – an orchestra. With all Ballet the breath of a live orchestra allows the dancers to breathe and move in harmony, an effect which I sadly missed.