Sleeping beauty’s courageous leap

Dazzling displays by Jill Ogai as Princess Aurora are well supported by this brilliant and lavish production of The Sleeping Beauty.

Jill Ogai as Princess Aurora and Marcus Morelli as the Prince in The Australian Ballet's The Sleeping Beauty. Picture: Jonathan van der Knaap

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The Sleeping Beauty is just the thing for these fractious times. Some might go simply to enjoy the fabulousness of The Australian Ballet’s ultra-blingy production – take a bow designer Gabriela Tylesova – but underneath the Baroque surface is a call to harmony, peace, love, kindness and the comfort of continuity.

Above all it’s the age-old fight between good and evil, with good coming out triumphantly on top and, in this version, looking a million bucks. Well, two million bucks actually, which is what former TAB artistic director David McAllister’s show cost back in 2015 when it premiered. (Before anyone starts frothing at the mouth, know nearly three-quarters of the budget came from ballet-lovers, not the public purse.)

Call these values old-fashioned if you want but they are why this story has lasted.

The Sleeping Beauty starts with Princess Aurora’s christening party, to which some fashion-forward fairies have been invited so they can bestow lovely qualities on the babe.

But there’s a big oops. Carabosse, who favours a more gothic look, has been shunned and she’s not happy. No reason why she should be. The royal court is big on protocol and manners and it was bad form not to include her. Second, Carabosse is the Fairy of Wisdom. Her gift should have been prized.

Carabosse storms in with a malign spell which is mitigated by the Lilac Fairy, bringer of all that is calming and benevolent. Aurora won’t die but will sleep for 100 years.

Ogai, centre, in The Sleeping Beauty. Picture: Jonathan van der Knaap

Fast forward to Aurora’s 16th birthday party, which brings not only the enactment of Carabosse’s curse but the Rose Adagio, one of ballet’s most famous and perilous assignments.

Aurora has been on stage for just few minutes before being tasked with a display of pristine technique, phenomenal stamina, tremendous will and deep reserves of courage, which it got on opening night from principal artist Jill Ogai in her first outing in the role.

Ogai, who has a 1000-watt smile and radiates joy, had the audience in the palm of her hand. It was the kind of performance in which a few wobbles at the adagio’s trickiest moments made her seem all the more human. Later she carried all before her, culminating in a glowing wedding pas de deux with her attentive prince, Marcus Morelli, making a strong role debut.

Ogai, though, was the necessary focus in a performance that fell a little short of the company’s best. Not everyone looked entirely match fit for this pinnacle of classicism although there was attractive strength in the fairy ranks.

Samara Merrick was outstanding as the flittering, feather-light Fairy Canari, Katherine Sonnekus a vibrant young Carabosse and the delicacy and quiet authority of Rina Nemoto’s Lilac Fairy washed away a few infelicities.

When it comes to the three mighty Tchaikovsky ballets there are those who swear by The Nutcracker and others who would die in a ditch for Swan Lake but The Sleeping Beauty arguably has greater complexity and theatricality.

The story is all there in the score, given glorious rein by the Adelaide Symphony Orchestra, ASO concertmaster Kate Suthers and conductor Jonathan Lo. It is truly exceptional music.

At the end there is something special for all those littlies in the audience starting out in ballet. Aurora doesn’t end up mad or dead. She gets to choose her husband rather than accept the dynastic match initially laid before her. Even better, it’s made clear she will be queen in her own right one day. You go girl.

The Sleeping Beauty. The Australian Ballet, Festival Theatre, Adelaide, July 22. Tickets: $78-$232. Bookings: Online. Duration: 2hrs 50mins with 2 intervals. Ends Adelaide, July 29; Brisbane, August 16-23; Sydney November 21-December 17.