n audience packed with lovebirds celebrated the Valentine’s Day weekend with “The Sleeping Beauty.” Ballet West’s production of the timeless classic came alive on stage, fulfilling the enduring story of a sleeping princess, a handsome prince and the triumph of good over evil.

“’The Sleeping Beauty’ presents a significant challenge for dancers both technically and artistically,” said Artistic Director Jonas Kage, according to a press release. “It is also a challenge in producing masterpieces, such as this one, through time to accommodate them to present audiences while preserving the essence of the style and originality that made them famous.” On opening night, Ballet West rose above these challenges and others.

For those unfamiliar with the classic fairy tale, the story focuses on baby Princess Aurora, whom the ill-natured Fairy Carabosse curses. She foretells that one day Aurora will prick her finger and die. The Lilac Fairy, as her gift to the baby princess, changes Carabosse’s curse. When the princess turns 16 and pricks her finger, instead of dying she will fall into a deep sleep, along with the entire royal court. One hundred years later, Prince Florimund is led to the sleeping princess’s castle by the Lilac Fairy. He breaks the spell of the wicked Carabosse by placing a kiss upon the lips of the Princess Aurora.

The ballet opened with the lavish royal court and the christening of Princess Aurora. The four fairies, danced by Amy Foster, Kristin Hakala, Tonia Stefiuk and Leslie Ann Larson, displayed light, joyful energy as each one presented her unique gifts to the baby. A sense of regal authority surrounded Christiana Bennet, giving power and grace to her role as the Lilac Fairy.

Michiyo Hayashi and Tong Wong gave two flawless performances as Princess Aurora and Prince Florimund. Hayashi’s interpretation of the young princess was one of charm and innocence, with delicate, technical precision adding color to her role. The famous “Rose Adagio,” a difficult challenge for any ballerina, showed off Hayashi’s incredible strength and ability to make anything look easy.

Wong approached the role of the prince with elegance and spectacular jumps. These two elements combined made for a stunning performance, indeed.

Equally impressive were the many solos, duets and group dances. Maggie Wright and Christopher Ruud performed the Bluebird pas de deux with technical prowess and Alison Harvey and Nick Mullikin’s humorous characterizations of the white cat and Puss-in-Boots were memorable.

Jeffrey Rogers, as the wicked fairy Carabosse (and dressed in drag in an elaborate, glittering costume), provided some of the most entertaining moments in the ballet.

The corps de ballet demonstrated clean dancing, enhancing the grand nature of the production.

Created nearly 20 years ago, “The Sleeping Beauty” captures 19th-century imperial splendor. The wonderful sets and costumes are made even more splendid with Tchaikovsky’s marvelous score, and the Ballet West dancers brought it to life.

While “The Sleeping Beauty” is a breathtaking production, expect to sit in your seat for almost three hours. The second act, although beautiful, seems too long. However, you might find yourself so caught up in the romantic fairy tale that you won’t even notice the time. Ballet West and “The Sleeping Beauty” make for a perfect romantic night out on the town.

Remaining performances of “The Sleeping Beauty” are Feb. 19-21 at 7:30 p.m with a 2:00 p.m matinee on the 21. Tickets are $10-$55 with student discounts available. Call 355-ARTS.
marissa@red-mag.com