Swans abound and good defeats evil in a simplified retelling.
A look-and-listen (albeit briefly) adaptation of a favorite ballet story.
A diverse cast of dancers fills the pages of this very basic retelling of a Russian classic of the ballet repertoire. The spread-spanning illustrations are busily filled with lakeside swans sporting fancy, feathery costumes along with many trees, deer, foxes, and rabbits. The palace is pink and glittery and replete with chandeliers, curtains, and fancily costumed guests. There, Odile, malevolent-looking daughter of the evil sorcerer Rothbart, dances with Prince Siegfried and tricks him into believing that she is the lovely Odette, the enchanted swan, who looks bereft. The audience-pleasing national dances of Act 3 are not mentioned in the text nor depicted in the illustrations. Stagings of Swan Lake have always had various endings, some happy and some not so, as Prince Siegfried and his beloved Odette are united only in the afterlife. This version has them living happily ever after on Earth. The gimmick of this title is the 10 brief (10 seconds or so) sound clips that barely hint at the very beautiful score. Adults taking children to a performance may find this useful as an introduction, but listening to a suite of the music would be a better idea. The refreshingly inclusive casting—Siegfried, Odette, and Odile have brown skin, and there are many courtiers of color—does not mitigate the book’s flaws.
Swans abound and good defeats evil in a simplified retelling. (author’s note, glossary) (Picture book/novelty. 4-7)Pub Date: Oct. 1, 2019
ISBN: 978-0-7112-4150-3
Page Count: 24
Publisher: Frances Lincoln
Review Posted Online: Sept. 23, 2019
Kirkus Reviews Issue: Oct. 15, 2019
Perfunctory and disappointing, this retelling of a classic fairy-tale ballet falls short.
One of the ballet world’s most enduring and endearing productions receives a picture-book staging.
Tchaikovsky composed three great ballet scores, and that for The Sleeping Beauty is certainly beautifully enchanting. Productions fill the stage with sumptuous sets and costumes, and the dancers perform every range of steps from delicate to bravura. Unfortunately, none of this is evident in this version. The retelling of the classic fairy tale, told in the present tense, lacks poetic nuance. The mixed-media illustrations, albeit showing a diverse cast, are cartoonish and busy and do not portray anything much resembling ballet steps. The “Rose Adagio,” when the 16-year-old princess dances with four suitors and performs audience-thrilling balances, is only hinted at in the illustrations. Likewise, the very entertaining fairy-tale characters of the wedding scene are here just part of a crowded double-page spread. The fairies are often depicted floating overhead while barefooted. The gimmick of the book, a musical accompaniment, is actually 10 bursts of tinny sounds that are too brief to be of lasting value. At the end of the book, the author does describe the instrumentation for many of the scenes, but this information is inadequate.
Perfunctory and disappointing, this retelling of a classic fairy-tale ballet falls short. (note on Tchaikovsky, glossary) (Picture book. 4-7)Pub Date: Oct. 16, 2018
ISBN: 978-1-78603-093-1
Page Count: 24
Publisher: Frances Lincoln
Review Posted Online: Oct. 27, 2018
Kirkus Reviews Issue: Dec. 1, 2018
While the logical concerns don’t sink this ship, muffed details have it awash at the scuppers.
A father-and-child team venture out together on their tugboat, rescuing a small boat and navigating a storm before returning safely to their harbor.
Evocative watercolor illustrations effectively convey the ocean and harbor setting with azure skies, puffy clouds, swirling seas, and a rip-roaring thunderstorm with lightning streaking across purplish skies. While the intriguing illustrations are the book’s strongest feature, several illustrations do not have exact picture-to-text correlation. Some perplexing depictions that could disorient coastal readers include an ocean liner on a direct path for collision with a sailboat and the tugboat (as well as the nearby shore) and a jet shown in the hangar bay of an aircraft carrier, which would not likely be anywhere near this small harbor. Safety-conscious readers will be concerned by the lack of clearly depicted personal flotation devices on the child and father. The child (who is androgynous) is shown wearing a slim vest, but it isn’t clearly a life jacket. Sharp-eyed readers will note that the line that’s towing the dinghy the tug rescues disappears in some pictures, as does the dinghy’s occupant. The cast of characters includes people of color; the child’s father has light skin and dark hair, and the mother presents as Asian. The short, rhyming text conveys a dramatic and interesting story, but in the pictures, too many extraneous types of boats make unnecessary and illogical appearances. Nautical terms used in the story are defined in a glossary.
While the logical concerns don’t sink this ship, muffed details have it awash at the scuppers. (Picture book. 4-7)Pub Date: May 14, 2019
ISBN: 978-1-4847-9952-9
Page Count: 40
Publisher: Disney-Hyperion
Review Posted Online: Feb. 5, 2019
Kirkus Reviews Issue: March 1, 2019
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
bookshelf
