Sumptuous reawakening: A timeless tale takes flight
Classical ballet meets modern magic in The Australian Ballet’s restaging of David McAllister’s celebrated The Sleeping Beauty.
It’s been a decade rather than a century, but the reawakening of The Sleeping Beauty by David McAllister for The Australian Ballet remains a breathtaking spectacle on a scale rarely seen.
Premiering in 2015, the former artistic director’s lavish reimagining of the fairytale classic was adored by audiences and admired as an achievement, so it’s ripe to reach a new audience and also give returning viewers a different perspective.
The imaginative design lives up to Czech-born creator Gabriela Tylesovq’s description of “over-the-top” – the baroque grandeur of palatial set pieces and regal court dress and wigs alongside glittering, meticulously detailed tutus ranging from dreamy to dramatic, and fairies capped off with tresses
resembling soft meringue peaks and fairy floss.
Whatever you make of the extravagant opulence, there’s no denying the “wow” factor – the raising of three enormous chandeliers rewarded with applause.
It’s no surprise that this was TAB’s most expensive production ever, and between the design and the dancing, there’s so much to take in that it’s impossible to register all of it in one sitting.
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Although this edition playing in Brisbane’s Lyric Theatre until Saturday August 23 celebrates the work’s 10th anniversary in a tour bookended by Adelaide and Sydney, it only premiered here in 2017. Of course, much has changed since then, including the artistic director – now American David Hallberg – and many of the dancers.
Unusually, only the opening night cast (which will perform again Wednesday and Friday at 7.30pm) includes principals in the lead roles of Princess Aurora (Ako Kondo) and Prince Desiré (Brett Chynoweth). The other two casts focus on introducing up-and-coming artists in starring roles.
McAllister’s decision to restrict his reimagining to the framing for the traditional Petipa choreography works to both manage the sensory load and satisfy those familiar with some of ballet’s most famous – and challenging – passages, such as Aurora’s deceptively demanding Rose Adage and Act III’s wedding grand pas de deux with its spectacular sequence of fish dives.
Known for quicksilver lightness and precision, Kondo was in her element as the tempo increased and radiated her ease and enjoyment. Chenyoweth partnered and performed adeptly but didn’t match Kondo’s expressiveness.
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Brisbane’s casting does continue the tradition of highlighting talent with local connections, though, through two soloists and a guest artist – all featured prominently on opening night.
Former Queensland Ballet principal Mia Heathcote embodied the kindness, grace and steely strength of the Lilac Fairy, whose goodness mitigates the curse of the evil Carabosse so that Aurora sleeps for 100 years before being awoken by Desiré, instead of dying when she pricks her finger.
Lithe and elegant, former Brisbane City Youth Ballet dancer Isobelle Dashwood was perfectly cast as the Fairy of Grace, and can be expected to bring the same presence to playing Aurora on Tuesday, Thursday and Saturday evening.
It’s a nice touch having former TAB and Queensland Ballet principal Matthew Lawrence (now QB’s ballet master) appear as The King – bringing gravitas – throughout the season.
Carabosse is a menacing and malevolent character, but soloist Katherine Sonnekus, although a striking presence, doesn’t manage to convey that threat. Nor do her cute entourage of rats in cravats that occasionally let slip the human faces underneath.
As expected, the overall calibre of dancing is excellent and the dancers maintain a satisfying individuality while also syncing lines and timing in unison – for the most part. The overall impact of several featured pas de quatre and pas de deux was diminished when one member fell short.
Even though The Sleeping Beauty is a long ballet with two intervals, the paring of Tchaikovsky’s score to its essential music (performed by Queensland Symphony Orchestra) and the liveliness of the staging maintain a good pace (although its three hours might nonetheless prove a challenge for children).
Any opportunity to see our national ballet company is welcome and worthwhile, and this production showcases why. Let’s hope that when The Glasshouse Theatre finally opens next year, we’ll be able to see TAB annually again.
The Sleeping Beauty, Lyric Theatre, QPAC, until August 23.
qpac.com.au/whats-on/2025/the-australian-ballet-the-sleeping-beauty