Balletic excellence and stunning beauty characterise The Stuttgart Ballet’s adaptation of the classic fairytale popularised by the Brothers Grimm. With choreography by Marcia Haydée, after Marius Petipa, she and artistic director Tamas Detrich have crafted something quite delightful. It premiered in Stuttgart in May 1987.
Unfolding in three acts, with two intervals, the first involving a prologue, the story is that of a girl born to the King and Queen after many years of childlessness. At a celebration to mark her arrival, the invitation has gone out to many, but the emcee has forgotten to include the fairy Carabosse. Carabosse is enraged at the snub and turns up anyway, ensuring her presence will not be forgotten.
She places a curse on the child, Princess Aurora, that will see the princess prick her finger on a spindle and die on her 16th birthday. While the King and Queen are crestfallen, the Lilac Fairy counters by dissipating the impact of the impending finger prick. Instead of death, the princess will fall into a deep sleep for 100 years, only to be awakened by a prince’s kiss.
And so it is that as the years pass, both Carabosse and the Lilac Fairy keep a close eye on Princess Aurora. Still, at the princess’ lavish 16th birthday party, Carabosse’s “punishment” comes to pass. All the Lilac Fairy can do is ensure that those in the castle at the time slumber for the century with Aurora.
One hundred years on, the Lilac Fairy appears before a hunting party attended by Prince Desire, revealing to him a vision of Princess Aurora. He is immediately enchanted and smitten, and despite Carabosse’s intervention, awakens the princess with a heartfelt kiss. With Carabosse watching on and evil not far away, the King and Queen go on to celebrate the nuptials of prince and princess with a colourful costume party. The courtiers are seen dressed as fairytale characters.
Tchaikovsky’s rich symphony of music is accompanied by dancers who are so light on their feet. They leap, pirouette and move about with cat-like distinction. The ballet features artistes from The Stuttgart Ballet with Orchestra Victoria, under the steady baton of conductor Wolfgang Heinz.
None is better than Elisa Badenes, cast as Princess Aurora on opening night, accompanied by the handsome prince, a role filled by Henrik Erikson. She positively floats across the stage, while he is authoritative and supportive, the pair dancing a Grand Pas de deux in the final act.
Jason Reilly has massive impact as the formidable and persistent Carabosse, displaying a dark strength of character. Abigail Willson-Heisel is an equally tenacious force for good as the Lilac Fairy. I can’t speak highly enough of the work of the other fairies and princes in the cast, along with Dorian Plasse as Blue Bird. Riccardo Ferlito is magnificent and athletic as Ali Baba.
The work is undoubtedly enhanced by the eye-catching, two-tier set design and magnificent costuming – a tapestry of pastel shades and a bold, fun fairytale wardrobe – by Jurgen Rose and the creative lighting of Dieter Billino.
The Sleeping Beauty showcases the best of ballet artistry with a story that never tires because which prince doesn’t want a princess and vice versa? More than that, the third act enables a series of dynamic performances, while introducing elements of good humour. It is on at Regent Theatre until 18th October, 2026.
Alex First
Other reviews you might enjoy:
- Romeo and Juliet (The Australian Ballet), at the Regent Theatre – ballet review
- Copland Dance Episodes (The Australian Ballet) – ballet review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.