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.
At the opening night of Kenneth MacMillan’s production of The Sleeping Beauty in London, all eyes were on English National Ballet’s new artistic director, up on stage – rather than in the audience. Would she still be able to hold her balances on pointe now that she is also required to balance the office books?The answer is a resounding yes.
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