Victoria Siracusa and Alexander Collen in “The Sleeping Beauty.” Photo by XMB Photography.
With a well-rehearsed rendition of “The Sleeping Beauty,” Ballet Theatre of Maryland brought the opening night audience at the Maryland Hall to its feet. From the moment the curtain rose, we were transported into a world of magic, grace, and, yes, beauty.
The audience was transported into a world of magic, grace, and, yes, beauty.
The choreography was authentic Russian/Vaganova, restaged by BTM Artistic Director Nicole Kelsch after Marius Petipa. Blending classical technique with the narrative elements of the French fairy tales from long ago, I enjoyed watching the corps ballerinas perform an arabesque, a double pirouette, followed by a grand jeté, executed with near perfection and poise.
Bauer’s sets and props transported the audience to a fairy tale kingdom filled with an opulent palace, the overgrown enchanted forests, and mystical creatures. Each scene was a visual feast for the eyes, complemented perfectly by the mood-inducing lighting by Stacie Johnson-Leske.
From the graceful movements of the Lilac Fairy (the lovely Lindsey Bell) to the the Wedding Pas de Deux, one of those special moments in classical ballet,” Sleeping Beauty” remains a timeless classic. As Aurora, the Sleeping Beauty, BTM’s Principal Victoria Siracusa did justice to this beloved ballet. Her “Rose Adagio,” where she is given a flower from each of her four suitors, performed the difficult balances with ease and aplomb.
Prince Florimund (Alexander Collen) proved to be a sturdy partner to his princess, and soared alone on stage in those flying leaps that Rudolf Nureyev popularized. The chemistry between the lead dancers was palpable, adding an extra layer of enchantment.
While the principals were greeted with cheers from the capacity crowd, it was the demi-soloists and ensemble dancers who grabbed my attention. The evil Carabosse (Madison Sweeney) danced her powerful solo with passion and lots of emotion, her arms waving wildly as she cursed the baby princess. The Diamond Fairy (Brenna Mazzara) sparkled in her variation. Her feet moved so quickly, I feared she could fall.
At the wedding, dancers performed divertissements to entertain both the Royal Family and their devoted fans. Little Red Riding Hood (Caroline Anderson) teased the Gray Wolf (Michael West, Jr., who shines on stage) and a frolic followed. Puss in Boots (Isaac Martinez) was a steady partner to The White Cat (Karissa Khalik) who played to the audience for more cheers. Whether accompanying the Lilac Fairy’s gentle guidance or the wicked schemes of Carabosse, the music drew the audience deeper into the story, stirring their emotions and fueling their imagination, best described as pathetic fallacy.
The Ballet Theatre of Maryland’s performance of “Sleeping Beauty” was elevated to new heights by the enchanting musical score that accompanied the dancers’ graceful movements. Composed by the legendary Pyotr Ilyich Tchaikovsky, the score is a masterpiece of classical music, perfectly capturing the passion and romance of the fairy tale.
“The Sleeping Beauty” is a must-see for ballet enthusiasts and fairy tale lovers alike. With its stunning choreography, lavish production values, and world-class talent, it’s an experience that will leave you spellbound from beginning to end. Sadly, BTM’s last performance took place yesterday. Let’s hope for a return next season, this time with live music.
Running Time: Two hours and 30 minutes with one 15-minute intermission.
“The Sleeping Beauty” was performed April 26-27, 2024 by Ballet Theatre of Maryland at the Maryland Hall, 801 Chase Street, Annapolis, MD 21401. For additional information on upcoming concerts and company happenings, please visit online.
