A review of Matthew Bourne's "Sleeping Beauty" by Sarah Kaufman in The Washington Post.
Bourne’s choreographic skills are uneven, although he comes into his strength in the second act, with a diabolical nightclub scene that hums along precisely on that fear/pleasure boundary. His major achievement is a moving duet of discovery and rapture between Leo and Aurora, by way of Kenneth MacMillan’s “Romeo and Juliet.” Aurora was danced on opening night by Hannah Vassallo, a bright, spirited dancer with arresting eyes and wells of mischief.
George Jackson's review for danceviewtimes.
To have the boyfriend still potent in Act 2, after a hundred years, he has had to become a fairy and sprout tiny wings. That’s sort of touching. The production’s potentially most novel passage happens just before the princess’ awakening. She is raped by the Dracula figure (the Caradoc character, son of the “dark” fairy Carabosse). If only Bourne had built and structured this necrophile scene into inventive dance drama, his “Sleeping Beauty” might have contained something as memorable as his “Swan Lake”. That there’s a rocking nightclub scene to ballabile music from the old ballet’s royal court scenes is yet another second-hand effect. Of course, the story ends conventionally.