By: Wendy Sheard
Birmingham Royal Ballet’s Cinderella, has arrived at Theatre Royal Plymouth, in an array of starry and dreamlike splendour.
This timeless classic brought to us in three acts, tells the story of Cinderella and her transformation from the much-maligned underdog, abused and berated by her spiteful step sisters and step mother to the woman who loses her bejewelled slipper and wins the heart of a prince.
Act One begins with a tableau of the young Cinderella with her father at the graveside of her mother, such a simple yet impactful introduction to the story we all know so well, and I was totally hooked.
We meet the mean and proud step sisters, who are wonderfully danced by Rosanna Ely and Tessa Hogge. They offer a warm, comedic portrayal of these traditionally farcical and unlikeable characters, you can’t help but enjoy the antics they get up to throughout the performance. Watch out for all the subtle (and not so subtle) capers and larks every time they are on stage.
Cinderella’s step mother, played by Daria Stanciulescu, makes her entrance too and is glamourous and menacing in equal measure, beautifully combining her hatred for her step daughter with her devotion and exasperation for her daughters.
Isabella Howard is our wonderfully serene Fairy Godmother, bringing warmth, comfort, and hope, ensuring Cinderella’s magical makeover is truly enchanting. She is helped by a merry band, formed of a jolly frog coachman, adorable lizard footmen and two delightful little rats, to transform Cinderella’s rags into an exquisite gown and a pumpkin into a magnificent coach which will take her to the Palace Ball.
Again, a tableau provides the first few moments of act two, transporting us to the Palace. Here we are treated to an array of elegant solo performances as well as the corps de ballet performing beautifully and gracefully together. There is so much to see during this second act, lots of detail and interactions, many of which are understated but provide a depth and richness to the individual characters. Keep your eyes peeled so you don’t miss any of these wonderful vignettes and exchanges.
The Prince, performed magnificently by Lachlan Monaghan, dances alone as well as with the corps and this leads to the arrival of Cinderella, looking outstandingly beautiful and our hero is smitten!
Yu Kurihara, effortlessly performs the role of Cinderella with grace and style, demonstrating the strength and talent of the ballet dancer as she dances with such poise on pointe over and over again.
The duet of the Prince and Cinderella is truly sublime, their performance is breath taking and is a true reflection of the skill and trust they have in each other.
Eventually, of course, it’s twelve o’clock and Cinderella must hurry from the Palace, mistakenly leaving behind one of her jewelled slippers, the only clue to her existence. There is such anticipation as the clock counts down, and Cinderella disappears on the final stroke of midnight; this scene is mesmerising and memorable.
And so, to act three and a tower of discarded shoes from all the women who want to persuade the Prince that their foot will fit the slipper. The step sisters and even the step mother try their hardest to make it fit, ramming their oversized feet into the dainty footwear that will fit one person and one person alone.
Eventually Cinderella, showing that she has the matching slipper, slides them onto her feet and the Prince sweeps her away to live happily ever after!
There is so much to enjoy with this production; Sergei Prokofiev’s musical score, the staging and magnificent set design, the costumes which are beyond exquisite, the imagination, warmth and humour which Carlos Acosta and his creative team brings to this, and all productions, and of course the genius of each performer. Their every move has meaning, nothing is wasted, and it is this detail which ensures that the retelling is fresh, contemporary, and unique.
Don’t miss it. A performance that is the perfect fit for everyone, just like that bejewelled slipper!