Last performed in 2018 and now celebrating its 40th anniversary, Sir Peter Wright’s critically acclaimed retelling of The Sleeping Beauty is once again mesmerising and dazzling audiences at Birmingham Hippodrome.

The production is based on the original 1890 collaboration between composer Piotr IIyich Tchaikovsky and choreographers Marius Pepita and Lev Ivanor. Not only is it Tchaikovsky’s most successful ballet, it’s also his longest; even last night’s shortened version - complete with two intervals - lasted for almost three hours.

The ballet opens at the Christening of Princess Aurora, with eminent guests and fairies who have been asked to be godparents in attendance. The party is rudely interrupted by the arrival of The Fairy Carabosse (Daria Stanciulescu). Resplendent in a striking black gown and headpiece, which sparkled beautifully under the lights, she is carried onto the stage on a black smoking carriage by her menacing assistants, also dressed in black costumes and sporting fearsome-looking spiky black hairstyles.

As very much befits an evil fairy, every aspect of Carabosse’s appearance and demeanour oozes pure malevolence.

In revenge for not being invited to Princess Aurora’s grand Christening ceremony, Carabosse places a curse on the baby. She proclaims that on her 16th birthday, Aurora will prick her finger with a spindle and die...

The Lilac Fairy (Eilis Small) intervenes. In perfect contrast to Carabosse, she is dressed - and sparkling - in the palest pastel shade with a matching headpiece, all of which clearly identifies her as the good fairy. Although she doesn’t have the power to undo the curse, she can at least prevent the princess from dying.

Years pass and Princess Aurora (Yu Kurihara) has grown up to be a beautiful and much-cherished daughter of the King (Jonathan Payn) and Queen (Tori Forsyth-Hecken). During the celebrations for her 16th birthday, Aurora’s doting parents introduce her to four suitors, who perform the famously difficult Rose Adagio with her. This is an extremely demanding routine for the principal dancer, who has to remain perfectly balanced en pointe (which Kurihara achieved with exquisite grace) and in perfect time with the music, as each of her suitors, all vying for her hand in marriage, give her a rose.

As decreed by Carabosse, Aurora does prick her finger - but instead of dying, the princess and the rest of the court fall asleep for one hundred years. They are hidden away from the world by a forest that grows up around the castle. The Lilac Fairy chooses Prince Florimund (Lachlan Monaghan) to awaken Aurora with a kiss - but first they must defeat the vengeful Carabosse, who tries to follow through with her desire to kill the princess.

As with all good fairytales, the happy couple fall in love. When the rest of the Court wakes up from the spell-induced slumber, a royal wedding takes place. In attendance are all the good fairies and various well-known fairytale characters, including Little Red Riding Hood, Cinderella and Prince Charming, who dance for the assembled guests. I particularly enjoyed the Bluebird variation (performed by Enrique Bejarano Vidal and Sofia Howard). The choreography incorporates bird-like movements which convey the characters’ avian qualities. Their stunning pas de deux, involving intricate footwork, lifts, spins and graceful movement, is an absolute joy to watch.

Aurora and Florimund then perform their grand pas de deux. Coming at the end of such a long ballet, it must be exhausting, so it’s credit to the dancers’ outstanding talent that they make it look so effortless! The whole ensemble dances the finale, with the Lilac Fairy blessing the happy couple’s union. In time, the pair will rule over the kingdom in peace and happiness.

As you would expect in any Birmingham Royal Ballet production, the soloists perform brilliantly and are well supported by the corps de ballet. The whole company is sumptuously attired in very traditional ballet costumes (which have recently been restored). The icing on the cake - as is always the case with a BRB performance - is the Royal Ballet Sinfonia’s beautiful playing of the score.

If you love classical ballet, incredible music, gorgeous costumes and lavish sets, this is a night at the theatre not to be missed. Last night’s audience showed their appreciation with thunderous applause and a standing ovation.

5 Stars

Birmingham Royal Ballet's The Sleeping Beauty was reviewed by Sue Hull on Wednesday 21 February at Birmingham Hippodrome, where it shows until Saturday 2 March.