Review: Matthew Bourne’s Sleeping Beauty, Bristol Hippodrome – ‘Aimed at fans of the gritty and spectacular’

Purists may need to brace themselves before attending Matthew Bourne’s Sleeping Beauty. The music may still be Tchaikovsky’s, but the story is very much Bourne’s own, drawing only lightly on the original staging or the traditional fairytale.

As anyone who has seen Bourne’s Swan Lake – which replaces traditional fluttering tutu-clad ballerinas with half-naked ripped male swans in an S&M club vibe – will know, Bourne is not afraid to mess with the classics.

This is billed as a Gothic Romance, and it undeniably meets the brief. It’s very long way from the pastel niceties of Disney. The shadows of Mary Shelley, Arthur Rackham and Bram Stoker infuse the darker scenes, whilst the scene where the suitors compete for the hand of Princess Aurora (Katrina Lyndon) is drenched in the glorious light of an Edwardian pre-War summer, all white skirts, big hats and tennis rackets.

Paris Fitzpatrick (Carabosse), Perreira De Jesus Franque & Ben Brown (attendants) in Matthew Bourne’s Sleeping Beauty – photo: Johan Persson

Some of the basic elements of the story are retained: Aurora does get cursed, prick her finger and fall asleep for 100 years. She is awakened by a kiss from her true love (albeit with some subsequent complications). But Bourne has introduced a whole new plotline along with a new character – Caradoc (Ben Brown), son of the wicked fairy Carabosse (also Ben Brown).

Caradoc’s driven desire to fulfil his mother’s curse and ultimately kill Aurora provides a throbbing dramatic engine to power the story along, and also makes the wedding scene something considerably more dramatic than traditional fans of the piece
would expect.

Dominic North (Count Lilac) and Andrew Monaghan (Leo) in Matthew Bourne’s Sleeping Beauty – photo: Johan Persson

In these more egalitarian times, Aurora has no need of a handsome Prince – particularly not one who rejoices in a silly name like Désiré. Instead, her childhood love is Leo (Rory MacLeod), the gamekeeper. Yes, Lady Chatterley is most definitely in the building. As a result, the Rose Adagio is transformed into an earthy Lawrentian love frolic, with Aurora fittingly receiving the (semi-)fatal prick at the moment of consummation, to the delight of any Freudians in the audience.

The Lilac Fairy is transformed into Count Lilac (Paris Fitzpatrick), a towering figure leading a pack of streetpunk fairies who definitely put the goth into Gothic. Fitzpatrick’s spindly limbs arc and stretch, spider-like, as the Count manipulates both the story and the characters, a master of ceremonies pulling the strings of this narrative web. And since we’re in a Stoker world, it will come as no surprise that – as his new title suggests – the Count is a vampire fairy. Because why not?

Ben Brown (Carabosse), Paris Fitzpatrick (Count Lilac) and company in Matthew Bourne’s Sleeping Beauty – photo: Johan Persson

Aurora’s wedding to Caradoc – where her new groom plans to bring a disconcerting immediacy to “til death do us part” by murdering her – is less delicate nuptials and more preparation for a sacrificial ritual, an Angela Carter fantasy soaked in blood-red light with dance moves reminiscent of a Duran Duran music video. Lilac’s intervention just as Caradoc raises his knife for his Aleister Crowley moment and the final battle between these two representatives of good and evil is undoubtedly the spectacular highlight of the show.

There are a few questionable outfit choices, including the hoodies worn by Caradoc’s sidekicks. Leo arrives at the wedding to rescue Aurora in a waistcoat-and-facemask combo that makes him look disconcertingly like Batman’s ineffectual sidekick Robin. But generally the costumes are spectacular, from the glittering Edwardian elegance of Aurora’s coming-of-age party to the Eighties-inspired New Romanticism at her wedding.

Ashley Shaw (Aurora) and Andrew Monaghan (Leo) in Matthew Bourne’s Sleeping Beauty – photo: Johan Persson

The choreography blends a variety of dance styles into an eye-pleasing whole. Whilst the music is disappointingly pre-recorded – which may be an economic necessity, but is always a shame since it deprives musicians of a wage (forcing them to teach violin to recalcitrant eight year olds instead) and audiences of the joy of a unique live experience – it is at least played at the correct volume; not always the case at the Hippodrome, which can sometimes leave more delicately-eared punters slightly deafened by the end of the evening.

Matthew Bourne’s Sleeping Beauty is not necessarily a great night out for fans of traditional ballet. But for those who prefer their entertainment both gritty and spectacular, it does offer an appealing introduction to an art form which can sometimes be perceived as having niche appeal. And it’s got some lovely music.

Matthew Bourne’s Sleeping Beauty is at Bristol Hippdrome from February 28-March 4 at 7.30pm, with additional 2.30pm matinee shows on Thursday and Saturday. Tickets are available at www.atgtickets.com.

All photos: Johan Persson

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