Theatre Royal, Nottingham – until 23 November 2019 then touring until 6th June 2020
Reviewed by Boo Wakefield
3***
In its 50th anniversary year, the Northern Ballet are touring with a new version of Cinderella. Originally choreographed by David Nixon in 2013 and a score composed by Philip Feeney, this interpretation is set in Imperial Russia and differs from the classic Cinderella story we all know.
It starts with a long scene during which a young Cinderella is celebrating her birthday with a picnic in the countryside. The young Prince is also there and although both shy, they are attracted to each other. Her father gives her a shawl which her two stepsisters then take from her. Tragically, her father is killed trying to retrieve it and her stepmother blames Cinderella even though her own daughters are mainly to blame.
The family move to Moscow and Cinderella’s stepmother no longer sees as a daughter and confines her to the kitchen a maid. The story continues with an older Cinderella visiting the local market, a welcomed relief from the drudgery of work in the kitchen as it is full of entertainers and a magician. Cinderella helps the magician when one of his tricks fails. The Prince also happens to be at the market but does not recognise the bedraggled maid as the girl he danced with at her party. On returning home, her stepmother reminds her again of her place in the house and a tearful Cinderella takes refuge by visiting the Crustal Lake to skate. The Prince happens to be there too along with the magician, and all are impressed by Cinderella’s ice dancing.
The ballroom scene is very long, perhaps too long, although the group dancing is superb but it lacks the urgency the story needs when the clock strikes 12. Indeed, you are hardly aware this has happened, and it is followed by a curious almost pantomime chase across the stage with a bizarre backdrop with “Cinders’ in red lights which did nothing but leave you confused. It carries on on this strange note with the Prince not recognising Cinderella when he comes to the house the next day with the shoe for the ladies of the house to try on. Distraught, she goes to the Crystal Lake where the Prince, filled with remorse at his behaviour, finally declares his love.
The dancing from all the cast was breath taking and faultless, but credit must go to Antoinette Brooks-Daw as Cinderella whose performance was flawless. Minju Kang was superb as the wicked stepmother with her staccato dance steps impressing her evil character with every move. Mlindi Kulashe was also very impressive in his joint roles of Cinderella’s father and then the magician which was slightly confusing.
Overall this a very entertaining ballet, beautifully danced but was let down by some of the scenery looking as if was borrowed from a pantomime.