The Fordham Jetés performed “The Sleeping Beauty” on April 12 and April 13, and the show was nothing short of enchanting. From the moment the curtain rose, the audience was transported into a fairytale world brimming with whimsy. Every element — from intricately crafted costumes to a colorful set design — worked together to keep the audience immersed in this magical realm.
Princess Aurora, the heart of the production, was played by Peninah Rosenthal, FCRH ’28. Rosenthal danced with a level of refinement and grace that felt otherworldly at the time; her technique was pristine, every movement was tuned to perfection. Her counterpart, Prince Desire, played by Tim O’Brian, FCRH ’28, brought strength and energy to the stage, impressing with powerful leaps and clean lines. His lifts were commanding and showcased a natural athleticism alongside emotional depth.
When speaking to O’Brian, I had the opportunity to hear more about the work that went into the show. In his words, “My experience preparing for ‘Sleeping Beauty’ was exciting, especially when we moved into the theater. I devoted a lot of time to the show and it was hard to balance rehearsals with my courses. But, I love the anticipation of the show and preparing for it, so I was happy to put in the extra time.”
So many other characters stood out, and some of my favorites include the Lilac Fairy and Carabosse. The Lilac Fairy added a touch of effervescence to each scene. She was joyful, radiant and a calming presence amidst the drama. Carabosse, the antagonist, wicked fairy opposite the Lilac Fairy, was a show-stealer in her own right. Annabel Graham, GSB ’26, crushed the role. Slinky, expressive and almost sacrilegious, her facial expressions conveyed a story all on their own. She didn’t just dance the villain — she embodied it.
One of the brightest moments came from the ensemble in the Garland Waltz, where the corps de ballet moved as one, creating elegant patterns and making great use of their garland props. Another crowd favorite was the pas de deux with the White Cat and Puss-in-Boots. Full of humor and character, it was a well-executed interlude that showed off the dancers’ theatrical range as much as their skillful technique. A standout moment was Aurora’s fated prick of the spindle — a slow, believable descent into sleep that Rosenthal stumbled into.
The one component that could have enhanced the experience even more is a live orchestra. The dancers were stunning and captivating, but the level of emotion that live music can evoke in an audience is much deeper than that of a soundtrack. Tchaikovsky’s score is emotional, sweeping and alive; having it performed live would have lifted the show into a new dimension. Still, the dancers moved with impeccable musicality, never missing a beat.
The set design was majestic and cohesive, remaining faithful to the fairytale aesthetic. Costumes were equally exquisite — Aurora’s was regal and radiant, while Carabosse added to her dark and dramatic flair. The crowd was full of loved ones who cheered loudly, especially during demanding sequences of turns and jumps. The Fordham Jetés knew exactly how to balance honoring the traditional grandeur of the ballet while uplifting the young talent in their company, and I am grateful to have witnessed it firsthand.
