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Ballet West is onstage through Feb. 26 for artistic director Adam Sklute's production of "The Sleeping Beauty" — an adaptation of Marius Petipa's 1889 original that preserves lengthy ballet pantomime and variations while adding modern-day pyrotechnics.
Petipa's "Sleeping Beauty," created to Tchaikovsky's timeless score, harkens to the origins of ballet as pageantry, to a time when its primary purpose was entertainment for the aristocrats. The ballet is a tough sell because it is long and feels like a court ballet rather than the unified storyline audiences are now used to experiencing. So it seems logical to update the classic with theatrical elements, but on the two nights I attended the performance, the addition provided mixed results.
Editing music and fairy choreography in and out of Act I gave it a boost. Kazlyn Nielsen caught my eye as the Fairy of Beauty on Wednesday, as did Tyler Gum as Prince Floristan that same evening. Emily Adams danced Aurora (Sleeping Beauty) as elegant and appropriately shy Wednesday, and on opening night last Friday, Katherine Lawrence portrayed Aurora as jubilant and youthful. The Prince Désirés, Adrian Fry and Chase O'Connell, were strong partners, yet both remained emotionally subdued. Chris Sellars and Arolyn Williams made a sprightly pair as The Bluebird and Princess Florine in Act III The Wedding on opening night. Beckanne Sisk's Lilac Fairy variation was extremely challenging, and while leaving out the expected signature steps, still impressive for the opening.
The young cast that introduced the Garland Dance offered an exciting glimpse into the future of Ballet West. They were technically proficient and well rehearsed. Giving all levels of dancers in the company stage experience is important, which must be the reason behind the five rotating casts for this show. However, for a company the size of Ballet West, it was often a stretch.
On opening night, the theme of good vs. evil emerged as central, pitting the dynamic Allison DeBona as Carabosse against the strength of the Lilac Fairy danced by Adams. That night, as DeBona flew and swirled above the stage on extension cables, she arched her body into a dead drop in perfect timing with the loud crack of the flash cartridge.
But other times the technical effects drew attention away from such necessary plot points, such as the moment when the Prince awakens Aurora with the kiss. —
'The Sleeping Beauty'
Tchaikovsky's emotional score and familiar story make it a popular ballet with a happy ending in which good triumphs over evil. New technology brings excitement to the stage, but doesn't always add to the ballet itself.
When • 7:30 p.m., Feb. 16-18 and 23-24; and 2 p.m. Feb. 18-19 and 26
Where • Capitol Theatre, 50 W. 200 South, Salt Lake City
Tickets • $19-$97; artsaltlake.org
Running time • Two hours and 30 minutes with one 15-minute intermission and two pauses between acts