Sumptuous, dramatic, eerie and captivating: the list of approving adjectives could go on and on, because Matthew Bourne's new Sleeping Beauty is a many- splendoured thing, an inspired dansical that draws audiences into the dark heart of fairytales and the shining reassurance of happy-ever-after romance.
Clear, persuasive storytelling and also – as his earlier productions of Nutcracker! and Swan Lake proved – an affinity with the broad sweeps and emotional undercurrents of Tchaikovsky's ballet music are Bourne's forte.
This Beauty, with broodingly handsome designs by Lez Brotherston transporting us from 1890 to 1911 and finally to the present day, is possibly the most accomplished work he has done yet.
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