This appeared originally online as part of a series of ongoing reflections on the process of making and performing work for Jennifer Jackson’s mature dancers’ project Dancing the Invisible, which showed work in performance last year at University of Surrey’s Ivy Arts Centre, and at the Michaelis Theatre at Roehampton University.  In a recent blog post Susie wrote:

Ashton used to say that watching The Sleeping Beauty was like having a private lesson in the art of composition in classical ballet (Kavanagh 1996, p.309).  The richness of Petipa’s choreographic text (despite its mutability and variation from one production to another) and the particular poetic and historic symbolism of the work, give it layers of significance and the potential for depth in individual artistic interpretation; to my mind according it the equivalence in status of such canonical musical masterpieces as the Bach cello suites, which invite artists to measure themselves and make a definitive personal statement of their understanding through their performance of the work. (more…)

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The English National Ballet Company under the artistic direction of Tamara Rojo arrived in Oxford for five days of performances at The New Theatre. Its offering was Kenneth MacMillan’s re-imagining of the great master Marius Petipa’s choreography for The Sleeping Beauty. In so many important ways the 22nd February performance I saw did not disappoint: the technical prowess of not only the principle dancers, but the well-trained corps de ballet was impressive; the Nicholas Georgiadis costumes were crisp and sumptuous; and the Tchaikovsky score paced at a galloping speed while not missing the moments of winsome beauty in waltz sequences and delicacy in moments of syncopated choreography.  But there are some caveats as well as some moments of special enjoyment. (more…)