Contemporizing a Classic

The Sleeping Beauty ballet has held the attention of balletomanes for nearly 140 years. It tells the story of Princess Aurora who is cursed by Carabosse, the Fairy of Wisdom, after she is excluded from Aurora’s christening. The curse destines Aurora to prick her finger on a magic spindle, sending her into a deep sleep which can only be broken by an act of true love. Prince Désiré, who falls in love with Aurora in a dream sent by the Lilac Fairy, battles through Carabosse’s spell to awaken her. From their love, a joyful celebration ensues and the land is at peace once again. In its essence, the ballet celebrates the notion that love conquers all—a message that has resonated across generations.

Juliet Prine, Lucien Postlewaite, and Leta Biasucci in PNB’s new production of The Sleeping Beauty, photo © Angela Sterling.

This classic tale is now being reimagined by Pacific Northwest Ballet (PNB), as they unveil a new Sleeping Beauty that meets original Marius Petipa choreography (1890), Tlingit mythology and design, and a contemporary Pacific Northwest aura. In the midst of this transformation, I met with first-time set designer Preston Singletary to explore the inner workings of this production.

Preston Singletary, Paul Tazewell, and Peter Boal bow at The Sleeping Beauty premiere, photo © Angela Sterling.

Singletary, largely known for his remarkable contemporary Indigenous glasswork (though I would also recommend checking out his funk band Khu.éex’) was invited by PNB’s Artistic Director Peter Boal to join the creative team for The Sleeping Beauty. Jumping on the opportunity, Singletary was eager in his reply. A Seattle native, Singletary has long been curious about his Tlingit heritage, which emphasizes the interbeing of land, its creatures, and its people. His ancestral curiosity organically led him to the incredible success and novelty of his glass-working career today. His proficiency in bringing a new dimensionality to Indigenous art has kept his heritage alive, relevant, and desirable. In artistic endeavors from Khu.éex’ to glassblowing, narratives and Tlingit mythology have maintained a strong influence in his work, so it came as no surprise when the avid storyteller found universality in The Sleeping Beauty’s storyline as themes of exclusion and balance between good and evil struck a familiar chord with him. For instance, motifs of the Eagle and Raven— opposing yet balancing symbols of power, wisdom, and transformation in American and Tlingit traditions—materialized to appear in the production as a sweeping Eagle staircase that frames the dancers on stage while Raven’s trickery, prophecy, and eventual gift of daylight are embodied by the character of Carrabose.

After speaking with Singletary about the associations he made from the classical fairytale, I think one of the most intriguing narrative elements of this new production is the reinterpretation of Carabosse’s character. Traditionally seen as the villain, Singletary’s Carabosse instead suggests a more nuanced portrayal—one where the dark fairy is not simply evil, but misunderstood. Though every character in the final scene of the ballet (Aurora and Désiré’s wedding) changes costume to match the occasion, Lilac Fairy and Carrabose remain in their Act I regalia. It is as if the Monarchs and guests don’t need Carabosse to change or conform. They accept her for who she is as balance comes when we are together, not when we are the same. I think this reflects a broader message about acceptance and the complexities of human nature, which is also a recurring theme in Singletary’s own artistic work.

Price Suddarth as the Wolf and a PNB School Student as Little Red Riding Hood at Aurora and Désiré’s wedding, photo © Angela Sterling.

Another narrative change introduced by Boal and Doug Fullington (dance historian, musicologist, and longtime PNB collaborator) is the agency given to Aurora’s character in The Sleeping Beauty. The last gesture in the ballet is an enduring moment as Désiré and Aurora join hands before meeting the audience with their gaze and concluding the performance with a grand port de bra in reverence. Where Désiré would traditionally offer his hand for her to take, it’s Aurora who offers her hand first, positioning the gesture to reflect her initiative in their engagement.

The design process for the production was an intricate collaboration as PNB’s The Sleeping Beauty is not just a reworking of a ballet; but rather, an innovative blending of cultures and artistic mediums to honor the popular fairytale. Singletary worked closely with PNB’s talented prop, set, costume, and artistic teams to ensure that his designs were not only visually stunning but also functional for the stage and that they sang in harmony with the other elements of the show. The integration of plexiglass lightboxes for example, designed to illuminate the gifts given to Aurora by each of her fairy godmothers, are inspired by bentwood boxes traditionally made from tempered cedar planks and often are associated with the journey towards healing and reconciliation: fitting for the arc of The Sleeping Beauty storyline. Singletary has used traditional bentwood boxes in his Raven and the Box of Daylight series which tells the story of Raven and his transformation of the world. In this odyssey, Singletary brilliantly created several sand-carved glass cubes, lit from inside to showcase the gift of light, through the moon, sun, and stars, that the Raven offers. This radiant warm glow was adopted for The Sleeping Beauty and is highlighted in a delightful moment in Act 1 as the lights dim on stage during a scene transition, thus leaving us with the ephemeral reminder of the fairies’ gifts to Aurora: integrity, joy, generosity, voice, passion, and grace.

PNB Company dancers present the Lightboxes to PNB School Students in The Sleeping Beauty, photo © Angela Sterling.

In designing elements like the lightboxes, the lilac oar used to propel a killer whale carved boat, Désiré’s glass sword, the Act II Ogre with his frog cape and expressive mask, or the expansive eagle staircase, a constant checking-in across departments was necessary. From color balance, to texture adjustments, to theater practicality, all aspects needed to be just right to serve a purpose and with the incredible team on deck, “it was really like everybody stepped up to have a great solution for the moment,” Singletary explained. “This production is a living and breathing thing; every decision needs to be made with the consideration of the production.” Throughout this collaboration, Singletary managed to concretize the ephemeral and cultivate an environment on stage that invites audiences to reflect on the richness of the Pacific Northwest’s cultural landscape and identity. As a dancer and an audience member, it’s quite interesting for me to see original Petipa pantomime and choreography performed by my contemporary colleagues wearing costumes masterfully produced and adorned with abstracted North American Formline design. All of this is framed in the warmth and signature design of Singletary’s contributions to projections, props, costumes, and set pieces.

Juliet Prine, Lucien Postlewaite, and a PNB School student ride a killer whale carved boat with a lilac oar, photo © Angela Sterling.

A full-length ballet is an incredible feat for any scenic designer, let alone a first-timer, but Singletary certainly rose to the occasion. In our conversation, he spoke fondly and thoughtfully about his experience, and in bringing so much creative insight and problem-solving to the production, it reminded me how integral collaboration and innovation is to this company. On Friday, January 31, 2025, the curtain came up on PNB’s The Sleeping Beauty, a performance dripping with magic from start to finish that will undoubtedly continue to dazzle Seattle audiences. The new ballet is a testament to the company’s commitment to pushing boundaries and exploring excellence, both artistically and culturally. The company is breaking new ground not only in The Sleeping Beauty ballet lineage but also in cultural representation in scenic design. Singletary, who comes from a long line of Tlingit heritage, shared that he has made history as the first Native American set designer to create for the classical ballet mainstage. For him, the opportunity to inspire future generations through this collaboration is part of a larger mission. “If I can inspire the next generation to create something new, whether that’s through glass, music, or narrative stories, then I feel like I’m contributing to a greater continuum,” he reflects. With Singletary’s visionary designs, the ballet is set to offer a fresh take on a classic, inviting all to explore their sense of place and the strength of love and acceptance. PNB’s The Sleeping Beauty is a chance to celebrate our commonalities and humanity, and to explore the possibilities of storytelling.

The world-premiere production of The Sleeping Beauty is on stage through February 9, 2025.

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