Just as ancient Greek myths have inspired countless generations of playwrites to interpret them anew, so the scenarios and musical scores of classic ballets can also prompt choreographers to take fresh looks at familiar source material.

On Friday night at Gould Hall, the Saba Dnace Theater offered a retelling of “The Sleeping Beauty,” to recorded excerpts from Tchaikovsky’s ballet of that name and selections by a group called Ninetyeleven.

It was the creation of a French-born choreographer known professionally only as Saba, who also designed the costumes and played the role of Carabose, the supposedy wicked fairy.

Saba had lots of interpretative notions. In his version of the tale, Carabose is not evil, but a benign spirit who leads Rachel Sattler, as the ballet’s heroine, from a repressive court environment into a realm of freedom, symbolized by a disco. Carabose is crucified as a result, a plot development that might be a shock to the pious.

...(omitted)...

Saba’s costumes were always eye-catching. ...Some were quite flamboyant.