The name Randy Newman will set alarm bells ringing in everybody’s head.

The American composer has become synonymous with the children’s animated film, with six Disney-Pixar scores under his belt – yes, that does include Toy Story – the one-time singer/songwriter has, in the last couple of decades, redefined his career and now boasts cross generational appeal. It is therefore little surprise to see the State Theatre packed to the brim with an audience whose age range is approximately 4-100 – a feat that is impressive on its own. However, with accompaniment from the Melbourne Symphony Orchestra, Newman ensures that his set satisfies not only the Disney fans.

A mild-mannered and well-humoured humble soul, Newman excels at relaxed banter and works his way through a diverse collection from his back catalogue, with the inevitable highlights Political Science, You Can Leave Your Hat On and You’ve Got A Friend In Me proving audience favourites.

However, at times the Melbourne Symphony Orchestra are left in the shadows, with Newman preferring to perform as a soloist. The decision is met with mixed emotions. Having been billed as a collaboration, Newman’s insistence to go it alone has initial appeal, but his solo sound is at times too soft for such a large forum.

Equally perverse is the minimal focus on his scores. Though four make the bill, they are positioned as the mid section and might have benefited from spacing. That said, the Melbourne Symphony Orchestra work their magic and they would easily have stolen the show had it not been for the late minute inclusion of encore closer I Think It’s Going To Rain Today, which allows Newman to do away with his comical tone and try a little tenderness. For three minutes, not as much as a head turn as chills were sent down people’s spines. Proving his original rendition still beats all the covers, Newman ends his set on a high and is met with a much deserved standing ovation.

When it was performed on the 2nd of November, 1921, The Sleeping Beauty – then playing under the title The Sleeping Princess – was understood to be, at least according to contemporary critiques and the ever-indispensible program guide, leaden down by a ‘slim, disjointed narrative’, with ‘too much dance material’.

That was 88 years ago – and it’s a shame that The Australian Ballet’s refreshing of one of ballet’s most famous works serves to only prove that maybe, just maybe, we haven’t really come that far.

For those unfamiliar with The Sleeping Beauty’s famous story, it revolves around a Princess, Aurora, who, as a newborn is made herald of spring by the season’s fairy. Her natural enemy, the winter fairy, attempts to have the young Aurora killed – and as a consequence of the resulting fracas is doomed to fall asleep on the day of her 16th birthday, thus submitting the world to an infinite, icy winter.

Only the kiss of her true love will awaken her from slumber, and one hundred years later he arrives, dispelling winter and returning the seasons to their natural order.

The story itself is the quintessential fairy tale – forces of darkness battle forces of evil, alliances are clear-cut and the journey and its characters have foreseeable and rewarding endings.

The key concern of this rendition of The Sleeping Beauty is that its principal focus is the beauty at which it’s executed rather than the execution itself.

Nevertheless, the piece amply showcases the high technical ability of the company as it rises to the formidable challenge of performing a pure Classic Ballet with fine-tuned execution – from the Soloists to the Corps de ballet.

Miwako Kubota as Aurora is technically excellent – performing the daunting Rose Adagio was convincing balance and precision. Unfortunately, her interpretation of the role lacks real expression and sincerity; ultimately the characterization suffers the same fate as the entire piece – dazzling, spectacular but tainted with a distinct artificiality.

The same could be said for Prince Florimund: while the role is confidently performed by Remi Wortmeyer, the relationship between his character and Aurora too often felt hollow, and thus never truly translated to the audience. Perhaps as a Soloist and Senior Artist it was a lack of experience that was its genesis – more of it required to develop a true and convincing portrayal of the two famous characters.

Sadly, as principal protaganists, the fairies are largely unrecognizable. Traditionally simple colour contrasts between these characters are now turned homogenous, pallid – a slip that risks damaging the ballet’s narrative arc and almost certainly affects the audience’s enjoyment of the re-staging.

Regardless of this, Reiko Hombo is a clear standout, bringing to her performance the required energy and charisma need for the Canari Fairy. However, her compatriot in Stephanie Williams – the pre-eminent Lilac Fairy – is uncomfortable, tending to lose the focus required for the character.

On sides both good and evil, Lana Jones is perfect as a convincingly cold, harsh Carabosse, and Tzu-Chao Chau excels amongst peers with excellent line, elevation and virtuosity in his performance as Prince Florestan.

Ultimately, this is The Sleeping Beauty – so the ingredients are all there. The sets are grandiose and beautiful, though still clean and uncomplicated. The lighting is also used to great effect, simultaneously highlighting the beauty of the ballerina’s bodies and portraying the story’s moods and seasons.

But with a languid third act, a story that focuses less on the rewards of dramatic structure and more on its presupposed impact, this re-staging of The Sleeping Beauty is unrewarding; a beautiful variation feels without purpose, the energy with which dancers carry themselves seems oddly benign, and the audience is left overwhelmed by the ballet’s length rather than as a dazzling spectacle.