Matthew Bourne’s Sleeping Beauty, which completed his Tchaikovsky trilogy of the composer’s ballet masterworks, is preparing for a run in New York City in autumn following a hugely successful London season and UK tour. The trio began in 1992 with Nutcracker!, continuing in 1995 with his international hit Swan Lake.
Bourne’s acclaimed reimagining of the iconic classical ballet production will run during October and November at the New York City Center, and will be the company’s New York premiere of Sleeping Beauty. This is following Bourne’s Swan Lake also hitting the City in 2010 after its first visit in 1998 when the production played on Broadway and won three Tony Awards.
The original production of tutus and tights, The Sleeping Beauty, was choreographed in 1890 by Marius Petipa, inspired by Charles Perrault’s fairytale about a young girl cursed to sleep for 100 years. As a result, The Sleeping Beauty, Swan Lake and The Nutcracker were all re-imagined by Bourne in terms of choreography, set, and interpretation, expanding audiences and combining classic stories with contemporary and theatrical dance.
For Sleeping Beauty, Bourne sets his production in the original year of 1890, setting the christening of the central protagonist Princess Aurora at the height of the fin de siècle period, full of fairies, decadence and vampires which fed into the gothic imagination of the era. The narrative then moves forward into the Edwardian era of with Aurora’s coming of age, and into the modern day with her waking after a century-long sleep.
Bourne’s production of Sleeping Beauty was the fulfilment of a great ambition in order to celebrate the 25th anniversary of Bourne’s company New Adventures in 2012, and also to complete his choreographing of three great Tchaikovsky ballets.
As part of British choreographer Matthew Bourne’s company New Adventures‘ 25th anniversary celebrations, old works have been revived and new ones are being created.
A triple bill was presented in May this year, showcasing works – for the second time – that launched Bourne’s career, and will undoubtedly propel his choreographic status further today. Spitfire was Bourne’s first creation in 1988, placing the most famous 19th century ballet showstopper in the world of men’s underwear advertising. A far cry from the dance tights and tunics of the day, Bourne’s men are costumed in revealing shorts and vests, a springboard for his success. Town and Country from 1991 saw Bourne’s and New Adventures’ first Olivier nomination as it immortalised the Bourne dance style in its ironically witty yet moving creation. Bygone eras and national characters are explored, a recurring theme in most of Bourne’s work. The Infernal Galop was inspired by 1930s and 1940s French icons, as seen by the “stiff upper lips” of English imagination to delight Bourne’s audiences.
Summer 2012 has recently seen the next instalment of celebrations. Bourne’s Play Without Words, in association with the National Theatre, depicts Chelsea in 1965 and the paradox of domestic social order and struggles for power in a spellbinding production. Its first revival as part of the 25th anniversary since 2002 at the National Theatre is seen to be another critical and popular success, making its debut at Sadler’s Wells and repeating its Olivier nominated work in such a prestigious dance house is a sure mark of the company’s success. Play Without Words won the 2003 Awards for Best Entertainment and Best Theatre Choreographer.
The 25th birthday of New Adventures will culminate with the world premier of Bourne’s latest re-imagining of the ballet classic The Sleeping Beauty. This will complete the trio of ballet masterworks that began with Nutcracker! and continued to reveal the international hit Swan Lake, minus the twirling tiaras of the originals. Again featuring touches of the Olivier, award winners will collaborate to create another Bourne magic, if potentially haunting production as a supernatural love story.
Not one for employing pointe shoes and pristine tutus, Bourne has contributed uniquely to both the British and international dance scene, providing sheer entertainment and arguably igniting a love of dance for many audience members.