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BalletLORENT's monumental debut performance at Sadler's Wells saw Rapunzel sell out with an audience of over 2000 people over the weekend.

Rapunzel unravels a fascinating and multilayered journey through a well-loved tale and is more akin to the Grimm original. What is different about this version is that it explores the husband and wife's story alongside that of the Witch, Rapunzel and the Prince. Artistic Director and choreographer Liv Lorent became interested in the fate of the husband and wife who lost their child and so there is a sense of their story throughout. This production brings together an award-winning team of collaborators, who do not disappoint, including composer Murray Gold (Doctor Who), costume designer Michele Clapton (HBO’s Game of Thrones), and poet laureate Carol Ann Duffy. There was also an inspiring cast of eight professional dancers and eleven non-professionals.

The choreography and direction by Liv Lorent chimes well with the other strands of the production, capturing the essence and intensity of the characters. At one point, Rapunzel jumps up and down repeatedly: this perfectly translates her teenage frustration at being constrained, and the idealised images of parenthood is excruciatingly beautiful. With meticulous timing and movement which appears effortless, the performers deliver in full. Gavin Coward and John Kendall as the creatures were especially engaging characters, bringing to life these 'prehistoric labradors', and one can only imagine the difficulty in moving with the weight of that hair. The scenario written by Carol Ann Duffy and retold by Lesley Sharp is clever and entrancing. The words set the scene and create epic imagery: the wife’s childlessness like " a planet without a moon ... an ocean without fish, … a tree in the orchard that bears no fruit”.

Murray Gold’s music is beautiful and penetrating, seamlessly punctuating the scenes and characters: Rapunzel's theme tune is a subtly haunting lullaby, while the Witch’s exudes suspense and wickedness. Phil Eddolls does an impressive job with his set, and this works together with Malcom Rippeth’s lighting to conjure extraordinary images. In the second half, the Witch and Prince are projected in quadruple in dark shadows on the backdrop, one of the many mesmerising visuals. Michele Clapton’s costumes are brilliant: mythical creatures, hooped skirts and a simple medieval feel which contrasts well with the ravishing reds in the set, lighting and Rapunzel’s hair. A nice touch was the design on the material of entwined branches and roots, exemplifying the flawless meshing of the different production elements.

BalletLORENT’s Rapunzel was part of Sadlers Wells’ annual two-day Family Weekend festival this easter and offered activities based on the themes of the production before and after the show. Anna Bruder, an artist involved in creating the themed art work in foyers said that it helped children relate to the darker characters and plot. This added a more immersive and interactive tone and dancers even mingled with youngsters during the intervals. That and the high quality choreography created with the non-professional dancers, illustrates balletLORENT's commitment to involving the community and the next generation of talent in their work at a meaningful level - an exceptional production and company for dance and non-dance audiences alike.

There will be further performances of Rapunzel at Oxford Playhouse on 5 & 6 April; for details and booking, please visit www.oxfordplayhouse.com/show/?eventid=2878

You can read Zoe Parker's interview with Liv Lorent about her work and this production of Rapunzel here: www.cloud-dance-festival.org.uk/Blogs-Reviews/in-conversation-with-liv-lorent.html