Review: Matthew Bourne's Sleeping Beauty

It’s understandable. Having turned Swan Lake on its head by having men dance the female roles and having set his version of Cinderella in the blitz, audiences have grown to expect something a little different from Bourne. The first half of Sleeping Beauty looks beautiful – in fact it looks like it’s been lifted straight from the pages of an illustrated fairytale book – but Bourne’s trademark quirky touch is largely absent. Fear not, come the second half he is back. It’s the bobble hats which give it away as the action fast forwards to 1990 and a group of Blair Witch-style explorers discover the princess’ overgrown palace. Add in vampires, thigh high boots and just a touch of red leather as Bourne’s production more than delivers on its promise to be a Gothic romance.

Ashley Shaw manages to be carefree, flighty and vulnerable as Princess Aurora, her innocence off-set by Liam Mower who as both the dark fairy Carabosse and her son, bent on revenge, brings a touch of Twilight to the piece, much to the clear approval of the teens in the audience. Dark, brooding and just a little bit sexy, this is vintage Bourne.

Sarah Freeman

Bradford Alhambra to February 27.