THERE is no sneaky rose thorn to lay Aurora low in SB artistic director Ashley Page’s engaging take on what for many is the greatest of the 19th Century ballet greats.

Instead, we have a very large cactus to do the deed. It is highly phallic. One touch and the young princess’s innocence is gone. Spotting the metaphors is part of the game Page plays with the audience in his allegorical interpretation.

So the wicked fairy Carabosse is here given as a posturing, gothic rock chick representing the tempting darker attractions as Aurora finds her way to womanhood through the tricky maze of adolescence. Wicked.

As for the prince, his similar journey is manifested by an exploration of the dark wood where he encounters Red Riding Hood, Cinderella, Snow White and the Bluebird who will guide him to the sleeping Aurora.

Oh, the sleep. The programme notes tell us that the century of slumber reflects the amount of sleep hyperactive teenagers need. No, I’m not convinced by that either. That apart, Page’s rite-of-passage interpretation holds true.

It is carried by quite scintillating choreography in which Page borrows from more modern dance without ever abandoning the classical form. The approach liberates classical movement from the rigid embrace of the over-academic.

The young Mozart was criticised for putting too many notes in his music. Page’s detractors may say the same about the number of steps he requires of his dancers. But they are wrong.

With performers like Sophie Martin as Aurora, Adam Blyde as the Prince, Eve Muse as Lilac Fairy and Sophie Laplane as Carabosse we have dancers who rise to the challenge in triumph.

Ashley Page is about to leave Scottish. His legacy is considerable.