The Sleeping Beauty – Courtesy of Moonbug Photography. Used by permission.
The Sleeping Beauty stands at the pinnacle of classical ballet, blending magnificent music with masterful choreography. On Saturday evening, I finally had the opportunity to immerse myself in this enchanting work, presented by Indianapolis Ballet and the Indianapolis Symphony Orchestra, for the very first time. The experience left a lasting impression on me, unforgettable for the elevated quality of its artistry and execution by two world-class organizations located right here in our own community.
The performance, held at Clowes Memorial Hall at Butler University was led by Maestro Jack Everly, who guided the superlative Indianapolis Symphony Orchestra with exceptional skill through Tchaikovsky’s lush and evocative score. No stranger to the ballet art form, Everly was once conductor for the prestigious American Ballet Theatre in New York City.
Under the direction of IB Interim Artistic Director Michael Vernon, the Indianapolis Ballet demonstrated remarkable artistry and nearly flawless execution, bringing the fairy tale’s enchanted world to life on stage.
The Sleeping Beauty – Courtesy of Moonbug Photography. Used by permission
The timeless ballet The Sleeping Beauty, composed by Pyotr Ilyich Tchaikovsky and choreographed by Marius Petipa, is celebrated for its magical story of Princess Aurora. Cursed at her christening by the evil fairy Carabosse, Aurora is doomed to prick her finger on a spindle and fall into a deep sleep. Despite determined efforts to shield her, the prophecy is fulfilled on her sixteenth birthday. The benevolent Lilac Fairy intervenes, ensuring that Aurora and the entire kingdom will not die, but instead sleep until awakened by true love’s kiss. After one hundred years, Prince Désiré discovers the sleeping princess, revives her with a kiss, and the ballet concludes with a joyous wedding celebration.
The production featured standout performances from Jessica Miller as the radiant Princess Aurora, Marlon Frometa as the dashing Prince Désiré, Sierra Lewis as the enigmatic Lilac Fairy, and William Robinson as the treacherous, evil fairy Carabosse. The entire company exhibited excellence in both individual and collective performances that reflected first-rate training and experience with not a weak link in evidence.
The Sleeping Beauty – Courtesy of Moonbug Photography. Used by perission.
The sumptuous costumes and sets that graced the immense Clowes Hall stage added to the grandeur of the ballet, highlighting production values that were of the highest caliber.
Given all the uproar caused by film actor Timothée Chalamet’s recent comment during a press tour interview that “no one cares” about opera and ballet, I feel it is important, as a performing arts journalist and advocate, to join the voices expressing concern about the actor’s remark. Just a few weeks ago, I attended and favorably reviewed a performance by the Indianapolis Opera’s resident artists and, most recently, The Sleeping Beauty. Based on these experiences, I can attest to the enduring relevance and profound impact of ballet and opera in our cultural landscape. I like to think Chalamet thoughtlessly misspoke. Ironically, his comment backfired so much that he unwittingly focused intense worldwide attention on ballet and opera, which hopefully will result in increased public appreciation and support. Hopefully, such a trend will ultimately also benefit our own Indianapolis Opera, Ballet, and Indianapolis Symphony Orchestra that partners with both.
Based on the number of young people and children in attendance at Sleeping Beauty, I believe that ballet will live if not, flourish, for generations to come.
For information about Indianapolis Ballet and the Indianapolis Symphony Orchestra visit indyballet.org and indianapolissymphony.org
