That's interesting because I found Kirkland so hammy and over the top that I was laughing out loud (quietly) in spots. She immediately brought to mind a man overplaying the role. While I'm not convinced that they belong in this production, I loved Carabosse's minion's costumes.
Dvorovenko and Beloserkovsky danced well. Wiles did not move me.
I was disappointed that they cut several of the variations in the last act. I was also disappointed in Saveliev. He didn't seem to have the stamina for the Bluebird. His jumps markedly lost elevation as his solo progressed, and it seemed to me that he dropped some of the beats towards the end.
I saw the June 8 performance and loved it. I should say, I disliked the sets and costumes but felt Miss Kirkland's coaching of the female roles, particularly the fairies in the Prologue, paid off beautifully. Jacquline Reyes is from our school in New Orleans so let me state that first - I have watched her grow up. She danced the Fairy of Charity and received applause in the middle of her variation which does not often happen. Much of the stinging and sarcastic criticism from the professional critics in my view has been extremely personal to Miss Kirkland and based on a lack of knowledge of classical ballet and this ballet in particular. There are not many good critics these days. People seem to derive a lot of enjoyment bashing the production team's concept of this Sleeping Beauty and with the exception of praising their particular favorites, ignoring the magnificent coaching, the quite interesting concepts, and the fabulous dancing of almost everybody in the company. (I do agree about Saveliev.) The orchestra sounded great. I am new to this forum, however, this is a ballet I know very well and I'd love to see it again. Plus, Gelsey is still wonderful to watch on stage.