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Sadler's Wells: Big Ballet as Romantics Dream It Can Be
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10008 |
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Section : |
THE ARTS
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4 / 1986 |
1,009 Words |
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Linda A. Small
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New York anticipated the arrival of England's Sadler's Wells Royal Ballet with keen interest. With ballet troupes in our own country in a state of flux, disrepair, and uncertainty, Sadler's Wells' appearances at the Brooklyn Academy of Music offered a revelation, or at least, a fresh sensation. This sister troupe of the Royal Ballet had not been seen in this country since its first American tour in 1951. New faces, new styles, new vitality--what would Sadler's Wells show us?
Company director Peter Wright's 1984 staging of The Sleeping Beauty is a lavishly royal and well-moneyed production presenting big ballet as romantics dream it can be. Designer Philip Prowse's aesthetics are simple--sheer beauty, sheer pleasure for the eyes. Envision sets painted in antique gold, bronze, and copper; costumes of exquisite detail and variety, often in shimmery metallic fabrics; high tiaras of golden filigree; chandeliers and candelabras; feathered helmets; intricate lace. An eighteenth-century court, its nobility, courtiers, and honored guests come alive.
Six junior fairies, attended by escorts, represent feminine qualities--Beauty, Honor, Modesty, Song, Temperament, and Joy--rather than wilder spirits of nature. Their solo turns are appropriately clean, effortless, and rather uniform and interchangeable in the Sadler's Wells' way. After all, they offer baby Princess Aurora her keys to success in society as a pleasing young lady. (Feminists may charitably presume that Aurora has been born with innate Courage, Intelligence, and Skill and has no need of redundant presents from sturdier fairies.) The Lilac Fairy is the Spirit of the Future, of potentiality and survival. She will make it possible for Aurora to live to be mature, pulling her girlish
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