The Sleeping Beauty is perhaps the Ugly Duckling of Tchaikovsky’s three ballets. It was the second in the trilogy, completed in 1889, but has neither the dramatic thrust of Swan Lake nor the calorific sugar-coated charm of The Nutcracker in terms of popular appeal.
You know it’s going to be different the moment the recorded music begins and words appear on the frontispiece setting the story. Among the recognised musical strains can be heard the cry of a baby, and it is this baby who revolutionises Matthew Bourne’s new vision of the iconic Russian classical ballet masterpiece Sleeping Beauty.
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