The Sleeping Beauty is rather odd in the canon of classical ballet. Princess Aurora doesn’t appear until after the extensive Prologue and her saviour Prince Desire not until Act 11. But there’s plenty going on to introduce this childhood story about a princess who is cursed and poisoned and must slumber until her true love awakens her with a kiss.

Princess Aurora and Prince Desiré with the dancers of West Australian Ballet in The Sleeping Beauty. Photo © Bradbury Photography

The costumes (Erika Turunen) are works of art, in gorgeous soft hues and soft fabrics for friends and fairies and stunning blood red and black for the wicked witch Carabosse who’s accompanied by a group of stunning bats. The tutus sparkle with jewels and the guests stand resplendent in luxuriant hooped-hipped dresses, and vast curly wigs.

The sets (Minna Wallenius) are lush and grand depicting ornate palace interiors, woodland glades, and the most beautiful, cave-like vista where Prince Desire is enticed by the powerful Lilac Fairy into Aurora’s dream as she sleeps her hundred-year sleep. Nigel Levings’ ambient lighting focuses on a glistening waterfall. Together with...