PNB’s "The Sleeping Beauty" Is a Fairytale Come True
Review of The Sleeping Beauty at Pacific Northwest Ballet
Written by TeenTix Newsroom writer MARIELA VIDELA and edited by Teen Editorial Staff member JULIANA AGUDELO ARIZA
My stomach fluttered with anticipation as I entered McCaw Hall. Attending Pacific Northwest Ballet performances has been a special tradition for my family since I was six years old. Now, I was going to see the world premiere of one of the most ambitious productions PNB has ever undertaken: their reinterpretation of The Sleeping Beauty. Would it meet my expectations? I’m happy to say that PNB delivered all the spellbinding glamor and grace I hoped for, along with some unexpected twists.
In the classic fairytale, Princess Aurora, cursed at birth by the spited fairy Carabosse, pricks her finger on a spindle during her 20th birthday and falls into a 100-year sleep. The only one who can wake her up is the dashing Prince Desiree with a true love’s kiss. In addition to preserving the original storyline of The Sleeping Beauty, PNB incorporated elements derived from the original 1890 production: the work of Russian choreographer Marius Petipa and Tchaikovsky’s swelling score. However, artistic director Peter Boal worked to contemporize the ballet by giving Princess Aurora self-agency, personalizing its setting to the Pacific Northwest, and incorporating Northwest Indigenous Coastal designs into the production.
On opening night, the auditorium was completely full. The atmosphere was that of a formal event, with many ballet goers elegantly dressed. I could feel my own anticipation humming throughout the audience. As the crimson curtains lifted and the first notes rose from the orchestra, a projection of Mt. Rainier filled the stage. Butterflies flitted among the wildflowers until an animated eagle and raven swept onto the screen. Moments later, the projection faded, revealing a striking, minimalist set. Instead of a richly colored or intricately painted background, the set emphasized simple lines and was mostly the color of pale wood. This gave the scene a slightly modern feeling. At the center of the stage was an immense staircase carved in the shape of an eagle. Tlingit artist Preston Singletary designed the sets, incorporating the bold, geometric patterns of formline into the background, props, and costumes. This created an interesting contrast as colorful, sparkling dancers paraded onstage in the dazzling array of brand-new costumes designed by Paul Tazewell. Aurora’s parents, King and Queen Papillon, were particularly eye-catching in bright orange costumes with swirling black lines that resembled the wings of a monarch butterfly. Just as monarch butterflies symbolized King and Queen Papillon, depictions of ravens and eagles symbolized the evil fairy Carabosse and the good Lilac Fairy, drawing on the characters of the trickster Raven and the powerful Eagle from Tlingit mythology.
Act I relied heavily on pantomime, using elaborate gestures to tell the story. Instead of highlighting the dancers’ skill, it showcased the production’s lavish costumes and stunning PNW scenery. Although the blend of minimalist sets, multi-colored costumes, and animated projections felt incongruous at times, the stunning craftsmanship behind each element was evident. Fairies twirled onstage in tutus glittering every color of the rainbow. Carabosse (Dylan Wald) made an appropriately dramatic entrance, wearing a gloriously sinister black costume complete with a mask of twisting horns. A particularly entertaining touch was the use of furry puppets, mimicking rats swarming across the stage in Carabosse’s wake. Dressed in violet and gently graceful, the Lilac Fairy (performed by Elle Macy) perfectly complemented Carabosse. Meanwhile, Angelica Generosa was radiant as Princess Aurora, bringing to life the charming naivety of her character through a delicate balance of precision and playfulness.
Act II opened deep in the forest, painted trees resembling PNW evergreens. The color theme was instantly more cohesive, with nymphs dancing in diaphanous dark teal gowns. I was surprised by the long interlude where projections of painted PNW landscapes played to music while Prince Desiree (performed by Jonathan Batista) rode in a wooden canoe to Aurora’s kingdom. When he finally kissed her, the portal above her filled with monarch butterflies, streaming over the stage in bursts of light. Unexpected touches like these continually delighted me throughout the performance.
The dancing shone the most during Aurora and Desiree’s grand wedding. The choreography was less dramatic than other PNB performances I’ve seen. Instead, it focused on precise balance and footwork. A highlight was the graceful, fluttering Blue Bird pas de deux, or duet, as well as an amusingly feisty Puss in Boots dance. Although there were some fumbles during the more difficult spins and fish dives, Generosa and Batista paired beautifully as Aurora and Desiree. Their sweet pas de deux perfectly captured the fairytale charm that The Sleeping Beauty is so beloved for.
By embracing the natural beauty and cultural heritage of the PNW, Pacific Northwest Ballet has managed to reinterpret a classic with refreshing originality, if not cohesiveness. This unique and stunningly elaborate production will undoubtedly become a part of my family’s tradition for many years to come. Although The Sleeping Beauty had a brief run, I encourage you to attend one of PNB’s other classical productions. Whether you are a seasoned ballet goer or a newcomer, the inspiring beauty of PNB’s productions is not to be missed.
Lead photo: Pacific Northwest Ballet principal dancers Angelica Generosa and Jonathan Batista, with company dancers in Peter Boal’s new staging of The Sleeping Beauty, onstage at Seattle Center’s McCaw Hall January 31 – February 9, 2025 (and streaming for digital subscribers February 13 – 17.) For tickets and information, contact the PNB Box Office, 206.441.2424 or PNB.org. Photo © Angela Sterling.
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