Cinderella - Northern Ballet

Few are unfamiliar with the story of Cinderella – a young woman forced to work as a servant whilst subjected to the torment of an evil stepmother and ugly sisters, but who eventually falls in love and marries her handsome prince. This 'rags to riches' tale is very much a part of our popular culture – re-visited during pantomime season, beloved via a Walt Disney animated classic, and even inspiring cinema films such as Pretty Woman. Versions appear in both ancient Greek and Asian literature, though the version with which we are most familiar with is probably Charles Perrault's fairy tale, first published in 1697.
 
To celebrate their 50thanniversary year Northern Ballet have revived the version of Cinderella created by David Nixon OBE in 2013, with music by Philip Feeney. The touring production arrives at Norwich's Theatre Royal this week, less than one month before the celebrity stars of Hollyoaks, Casualty, and Eastenders collectively place their dignity on the line and play their pantomime version for fun and for laughs. Let's hope that this week's audiences have double-checked their diaries, and arrive on the correct date.
 
The first act opens on a summer afternoon by a river just outside Moscow. A picnic is being held to celebrate Cinderella's birthday (played, as a young girl, by Rachael Gillespie)  – those present include her father, Count Serbrenska  (Mlindi Kulashe), her stepmother (Minju Kang), two step-sisters (Kyungka Kwak and Ayami Miyata), and members of the royal family, which includes a young Prince Mikhail (Kevin Poeung). The scene is one of picture-book idyll until Count Serbrenska drowns in a tragic accident, an incident that involves Cinderella and her step-sisters but for which only Cinderella is held responsible.
 
The remainder of the plot is mostly straightforward and familiar – Cinderella is banished to the kitchens to work as a servant; the stepmother and sisters are invited to a winter ball at the royal court; with a sprinkling of magic Cinderella also attends the ball; she dances with the prince; in her rush to leave she loses a shoe; the prince finds Cinderella; and finally declares his love for her.
 
There are also some interesting differences – the 'older' Cinderella is danced by Antoinette Brooks-Daw, and the adult Prince Mikhail by Sean Bates. However, these dancers still appear to be of roughly the same age, perhaps a little taller, although both now with strikingly blonde hair. Cinderella's father is denotatively re-manifested as a magician (again danced by Mlindi Kulashe), and it is he that conjures up the carriage, dress and shoes for the ball. And when Prince Mikhail inevitably comes knocking at the Serbrenska residence the Countess actually attempts to point out Cinderella as the owner of the missing shoe.
 
But, in spite of these minor plot variations, the story remains one of love triumphing over sadness and loss. Northern Ballet's production is an absolutely charming and uplifting affair, beautifully danced with a lightness of touch that is a joy to watch. Scenery and costumes possess a picture-book quality, with a sentimental beauty that sends you spinning back to childhood memories, a time when good could overcome evil, and when happiness was always just a story tale ending away. There are cleverly constructed vignettes, such as when Cinderella dances pensively with the shadow of her younger self, or is left alone against a wintry backdrop, resplendent in the iridescence of her magical ball gown. There are gentle touches of humour with a comedic dancing bear and a pack of huskies to draw the carriage (which is itself blinged up with the name 'Cinders' illuminated down the side); confident acts of juggling, stilt-walking and prestidigitation; and wonderfully slick scenery and costume changes.
 
The score is a sagacious and beguiling mixture of magic and sadness, modern in approach but with elements of unadulterated romanticism. For those familiar with Sergei Prokofiev's score for the Bolshoi Ballet, and later used by Frederick Ashton for Sadler's Wells and The Royal Ballet, Feeney's music is a refreshing and comfortable accompaniment to this production's mood and palette, and the members of  the Northern Ballet Sinfonia are expertly led by guest conductor Geneviève Leclair.
 
Northern Ballet are always eagerly awaited visitors to the Theatre Royal, both for their full productions and for their wonderful child-friendly shows (they return in April 2020 with a special version of Little Red Riding Hood). We now have October 2020 to look forward to, and their return  with an exciting new production – Merlin.
 
Until then, enjoy the pantomime!