English National Ballet The Sleeping Beauty Review At Mayflower Southampton Review
DISCLOSURE – TICKETS TO SEE THE SHOW WERE GIFTED TO THE REVIEWER AND GUEST FOR THE PURPOSES OF WRITING THE REVIEW
Reviewed by Lilybean Davis
English National Ballet’s revival of The Sleeping Beauty arrived at the Mayflower Theatre in Southampton this evening with all the sparkle, grandeur, and technical polish one hopes for in this enduring classic. Under the direction inspired by Kenneth MacMillan’s staging, the company delivered a sumptuous evening of storytelling through movement, one that blended fairytale enchantment with masterful artistry.
From the moment the curtain rose on the opulent christening scene, it was clear that ENB was intent on delivering a production anchored in tradition yet fresh in its theatricality. Peter Farmer’s lush designs, with their rich jewel tones and intricate period detailing, transformed the stage into a storybook kingdom. Combined with Tchaikovsky’s sweeping score, performed with vibrant clarity, the atmosphere felt both majestic and intimate which is an impressive feat in the vast auditorium of the Mayflower.
As Princess Aurora, the lead principal Sangeun Lee offered a performance of radiant charm and technical assurance. The iconic Rose Adagio which is always a benchmark moment—was met with hushed anticipation from the audience. She delivered it with strong balances, expressive placement, and a poised musicality that made the sequence feel less like a technical showcase and more like a moment of characterful awakening. Her Aurora was bright, youthful, and imbued with a sense of hopefulness that carried through the ballet’s darker moments.
As the malevolent Carabosse, Fabian Reimair brought electrifying presence and fierce theatrical energy. Swathed in dramatic black and gold, Carabosse’s entrance crackled with menace, the choreography sharp and angular against the otherwise flowing classical lines of the court. In contrast, the Lilac Fairy, Anri Sugiura, portrayed with serene authority, anchored the production with a sense of grace and moral clarity. Her solos were delivered with beautifully controlled port de bras and articulate footwork, making every gesture feel transformative.
The final wedding celebration offered a dazzling procession. Highlights included the playful Bluebird pas de deux, danced with buoyant jumps and crisp batterie, and the delightful appearances of the fairytale characters, which added humour and charm without breaking the production’s elegant tone. My daughter particularly loved the furry friends. The corps de ballet, consistently disciplined and harmonious throughout the evening, shone particularly in the vision scene’s sweeping patterns and luminous unison.
What impressed most about this production was its sense of balance: between spectacle and subtlety, tradition and immediacy, virtuosity and heartfelt storytelling. English National Ballet treated Sleeping Beauty not merely as a grand classical showpiece but as a living narrative, infusing each act with emotional clarity. Even familiar set pieces felt engaging, supported by thoughtful pacing and strong ensemble work.
As the final tableau settled and the curtain fell, the audience responded with warm enthusiasm. This was a testament to the care, craftsmanship, and passion poured into this revival. ENB’s Sleeping Beauty at the Mayflower Theatre was not just a reminder of the ballet’s enduring magic; it was a celebration of why these classic tales continue to captivate modern audiences.
Rating: 5/5
Tickets cost from £12.00
Sleeping Beauty is at Mayflower Theatre from 26th – 29th November 2025.
For more information or to book tickets visit www.mayflower.org.uk