Costume design by Oliver Messel for a Page in Act II of Marius Petipa's ballet The Sleeping Beauty, Sadler's Wells (now Royal) Ballet, 1946 or later revision

A costume design for Hunting Pages in the ballet Sleeping Beauty. A negro wearing a silver and green tunic with green breeches. Burgundy trim at the knees and cuffs. He holds an umbrella on the left which is gold with a pink underside. A bird perches on his hand on the right.

Acquired with the support of the National Lottery Heritage Fund, Art Fund and the Friends of the V&A

NB: The term "negro" was used historically to describe people of black African heritage but, since the 1960s, has fallen from usage and, increasingly, is considered offensive. The term is repeated here in its original historical context.

The Sleeping Beauty (1890), a ballet composed by Tchaikovsky with libretto by Marius Petipa and Ivan Vsevolojsky after the fairy tale by Charles Perrault (1697). Choreography by Marius Petipa. Oliver Messel’s production first performed by the Sadler's Wells Ballet at the Royal Opera House, London on 20 February 1946. It was produced by Nicholai Sergeyev and has additional choreography by Frederick Ashton and Ninette de Valois. It featured Margot Fonteyn as Princess Aurora and Robert Helpmann and David Paltenghi as Prince Florimund. This performance marked the re-opening of the Royal Opera House, Covent Garden, as a theatre after its war-time use as a dance hall.
It was also performed on 9 October, 1949 at the Metropolitan Opera House, New York, the production with which the Royal Ballet conquered New York. It was revised on a number of occasions most notably in 1952 and 1960 when several of the costumes as well as choreography and the production were reworked and was mounted in 1959 for the Royal Ballet Touring Company. It remained in performance by the Royal Ballet companies for twenty five years. Sarah Woodcock said of this production “The Sleeping Beauty was to be Messel’s biggest and most enduring production … The production was performed nearly one thousand one hundred and fifty times, from London to Los Angeles, from Leeds to Leningrad, becoming the Company’s ‘signature ballet’.” (Pinkham, ed., 1983).
Lord Snowdon, Oliver Messel's nephew, inherited Messel's theatre designs and other designs and artefacts. The designs were briefly stored in a disused chapel in Kensington Palace before being housed at the V&A from 1981 on indefinite loan. The V&A Theatre Museum purchased the Oliver Messel collection from Lord Snowdon in 2005.

Historical significance: Messel's costume and set designs for the Sadler's Wells Ballet production of The Sleeping Beauty in 1946 became the definitive stage designs for the ballet, enduring many revivals to 1970.

The design might be for a later revised production. See customs stamp on the back of the board.

Reason For Production: Commission

Great Britain’s leading theatre designer from the early 1930s to the mid 1950s, Oliver Messel (1904-1978) won international acclaim for his lavish, painterly and poetic designs informed by period styles. His work spans ballet, drama, film, musical, opera and revue. Messel’s traditional style of theatre design became unfashionable from the mid 1950s onwards, and he increasingly concentrated on painting, interior and textile design, including designing luxury homes in the Caribbean.

The Sleeping Beauty, designed for the Sadler's Wells (now Royal) Ballet in 1946, is Messel's most enduring production. The fairy costumes and fantasy elements he anchored in a 'real' world, inspired by the soaring architectural fantasies of the 17th and 18th centuries and costumes based upon mid-late 17th-century fashions, mixing English, Spanish and French period styles.

Messel designed flamboyant hunting costumes for the members of the hunting party in Act II. In his reworking of Messel’s designs for the Royal Ballet in 2006, Peter Farmer toned down the strong colours of Messel’s costumes.

S.428-2006