Hampton Roads receives a rare treat experiencing a production from the romantic era with the grandeur attributed to the larger opera houses throughout the world. Through the efforts of the Virginia Arts Festival, the production of the Birmingham Royal Ballet’s Sleeping Beauty was presented last weekend at Chrysler Hall.

This production was shipped from England with sixty dancers and over 150 glorious costumes. Even the main curtain was included in this package. Its glittering enticement set the atmosphere for an evening of royal beauty.

Although the Friday evening performance was opening night, Saturday’s was billed as the “gala” event. Her Royal Majesty Queen Elizabeth was not present as originally planned. Nevertheless this did not take away from the majestic aura surrounding the revival of Peter Wright’s 1984 production. Unveiled at the prologue was a magnificent burnished set by Philip Prowse, exemplifying richness befitting a royal chamber.

In keeping with the original Petipa concept, this production depends heavily on the art of mime to tell this fairytale story. Wright even reclassifies the traditional Lilac Fairy to act out her role rather than dance. As the curtain rises, the stage was filled with processional movement depicting the celebration at the christening of baby Aurora. The festivities were abruptly interrupted with a grand entrance of the Fairy Carabosse enacted skillfully by Silvia Jimenez, adorned in a black laced gown aloft a black carriage and who delivers her gift of a curse that Aurora will die from a prick on the finger from a spindle.

The real bravuras in this performance have to go to the corps de ballet with their precision and well rehearsed accuracy. Their performance resembled that of the Kirov Ballet in the 1960 and 1970 when they first came to American on tour. Particularly impressive was their dancing in Act II, especially the men executing their beats and double tours with precision ending one knee to the floor. The ladies consistently displayed the same cohesiveness throughout all their ensemble work.

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Not so splendid were some of the soloists. “Bluebird” danced by Kosuke Yamamoto seemed to have ruffled feathers almost falling out of his double tour at the end of his variation and the stately

prince charming Florimund, danced by Ian Mackay, did not deliver the level of a principal expected from this company of dancers.

Aurora, danced by Australian born Elisha Willis who joined the company in 2003, began with a tenuous Act II struggling for balance from Cavalier to Cavalier. She regained her sure-footedness to display an impressive third act with some thrilling combinations, partnered by Mackay.

The ballet offers humorous moments through furry, fairy-tale characters. There was Puss-in-Boots and the flirtatious White Cat, Red Riding Hood and the confrontational Big Bad Wolf. Even Carabosse offers glimpses of sarcasm in the prologue.

Under the baton of Philip Ellis, the orchestra delivered on Tchaikovsky’s lush score. Ellis’ enthusiasm sometimes increased the tempo leaving behind the dancers who struggled to catch up. Nevertheless, the orchestra helped make this production rate first class.

The piece de resistance was at the conclusion of the ballet. A visual treat that set the audience a gasp as flakes of gold floated to the floor creating a scrim of shimmering splendor and a breathtaking moment. In conclusion, Sleeping Beauty is a Festival triumph and a true gift to our communities.