Sketching ‘The Sleeping Beauty’ — Ten Years On
It’s hard to believe it’s been ten years since I first sketched The Australian Ballet in rehearsals for David McAllister’s The Sleeping Beauty. I was very lucky to be there back in 2015, drawing and photographing the dancers as they prepared for the world premiere of this lush and absolutely stunning production.
It was an unforgettable experience. The studio was full of energy - dancers moving through scenes of fairies, nymphs, princes and princesses, all wrapped in light and colour. I used colours I had never used before - soft pastels, light-filled, joyous tones that seemed to belong to that world. It was a real shift for me. I’d always been more comfortable in darker tones, but the colours and atmosphere of The Sleeping Beauty inspired me to work with this new palette.
There was also the drama of the darker moments - the bad fairy and her rats - such a wonderful contrast to the beauty of the rest of the ballet. It made for an exciting mix to work with. The dancers were phenomenal then, as they are now - deeply focused, expressive, and generous in nature. They welcomed me into their studios, allowing me to quietly observe and draw. I always feel incredibly lucky to be immersed in their world.
This year the first performances were in Adelaide, so most of the costumes had already travelled there. The dancers worked in rehearsal clothes, and I liked that there was a contrast - a sense of time between the two periods of work.
Although much had changed - as happens with time - many things remained constant. David McAllister, as always, was motivating and engaging - full of passion, warmth, and generosity. It’s such a privilege to hear him speak to the dancers, explaining ideas and encouraging them. Many faces from the past were present, among them Adam Bull, once Prince, was now King, and beautiful Robyn Hendricks from fairy to princess, glowing in the role of Aurora.
For me, it’s always an honour to watch and draw the dancers. This time I found myself sketching many of them in quieter moments, often in repose, watching rehearsals, preparing to dance, or simply pausing between sections. There’s something very beautiful about those still moments.
It’s been interesting to look back and realise how much life experience has changed the way I see and use colour. I now love those pastel, light colours - they’ve become part of my practice.
I’ll include a short video link showing a flip through of my sketchbook - drawings in graphite and charcoal, made in situ at rehearsals.
Ten years on, The Sleeping Beauty continues to inspire me - not only through the movement and grace of the dancers, but through the memories and quiet energy that fill the studio each time I return.
