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BWW Reviews: Matthew Bourne Turns SLEEPING BEAUTY into a Spellbinding Gothic Romance

BWW Reviews: Matthew Bourne Turns SLEEPING BEAUTY into a Spellbinding Gothic Romance

With "Sleeping Beauty", the third ballet in Matthew Bourne's Tchaikovsky trilogy that includes "Nutcracker!" and "Swan Lake", the award-winning British choreographer has once again proved himself to be not only a gifted dancemaker but a masterful storyteller. The production, correctly billed as "A Gothic Romance", is playing at New York's City Center on West 55th Street between 6th and 7th Avenues until November 3rd with the superb original cast of world class dancers from Bourne's London-based New Adventures company.

In order to turn Perrault's fairy tale into a narrative that has a compelling dramatic arc, Bourne eschewed the implausible love-at-first-kiss plot device by introducing Aurora's youthful suitor during the Coming of Age celebration when she turns 21. He is a commoner who serves as the Royal Gamekeeper. The charmingly feisty princess, clearly delighting in her parents' disapproval of the match, wins us over so that we're already rooting for a happily-ever-after ending. Yet in Bourne's own words, "Aurora's blossoming love for Leo, her childhood sweetheart, is cut short by the fulfilment of Carabosse's curse. The dilemma becomes 'how can he still be around for her when she wakes up in 100 years' time."

I won't be a spoiler because the solution is a gripping moment that will surely make you gasp in surprise. Suffice it to say that a clue to the mystery lies in the fact that instead of the traditional Lilac Fairy who foils the evil Carabosse, Bourne has created the role of Count Lilac - inspired, perhaps, by Bram Stoker's famously macabre Gothic protagonist yet imbued by Bourne with a force for good.

Act One when Aurora is a baby is set in 1890, the year of the premiere of Petipa's "Sleeping Beauty" and a time when fairies and magical spells fuelled the collective consciousness. Aurora's 21st birthday takes place, as Bourne put it in his Playbill note, in "the famously golden Edwardian summer of 1911" during which Bourne introduces us to Carabosse's son who is out to get revenge for the fate of his late mother. The awakening scene and Aurora's wedding move us to the present day in 2011. This clever timeline is held together with the running theme of a red versus a black rose. Bourne propels the scenario out of the realm of mere make-believe and into an imaginative version of the here and now, complete with people using cell phones to take selfies. As a result, we truly care about the hero and heroine.



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Sondra Forsyth Sondra Forsyth, a National Magazine Award winner and a member of the Dance Critics Association, founded Ballet Ambassadors in New York City and was the Artistic Director for 16 years. Sondra has served as a guest teacher for the American Ballet Theatre open classes and on the faculty of The School at Steps on Broadway, the Harkness Dance Center of the 92nd Street Y, the Interlochen Center for the Arts, and Studio de Ballet Opera in Beirut, Lebanon. She is currently Co-Editor-in-Chief of ThirdAge.com and formerly held the posts of Executive Editor at Ladies? Home Journal, Features Editor at Cosmopolitan, and Articles Editor at Bride?s. Sondra?s byline has appeared in Dance Magazine and Dance Spirit as well as many major publications. She is the author or co-author of twelve books and holds an M.A. from Harvard.



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