English National Ballet and its school have acquired a genuine gem with their latest creation in the My First Ballet series. George Williamson’s Cinderella is charming, engaging and clever from the beginning. Part of its tremendous appeal lies in the way it looks. Set and costume designs by Rachael Canning are dazzlingly enchanting and will work so well on the different stages that the production will tour. There is always a freshness to graduating students that is a delight to behold. Imbued with enthusiasm, a thirst to experience the ‘real’ thing and learn their stagecraft, this is a perfect vehicle to begin their professional journey.
As with previous ballets in the series, the action is explained by a narrator, on this occasion delivered by actor, singer and beatboxer Kate Donnachie. Vocally dextrous, she managed to keep an audience, filled to the brim with tiny children, in thrall to her every gesture and word. A very memorable performance.
The simplicity of the storytelling was somewhat refreshing and a relief. Williamson has crafted the Stepmother and Stepsisters very much in the caricature/slapstick mode which worked particularly well when danced by Sabrina Stilson, Elisha Tan and Jemima Gosling respectively. In the first act, Dance Teacher/Dress Maker Rían Ó Braonáin was hilariously funny, especially when teaching the sisters their dance moves. Complete with flamboyant mannerisms (all in the best possible taste), Ó Braonáin displayed real comic talent made visually more rewarding because his height and long limbs were a great contrast to the Stepsisters.
The imagination is beautifully satiated during the transformation scene with the addition of ‘seasonal’ animals. Spring Hare, Summer Stag, Autumn Fox and Winter Owl dance solos to the traditional seasons variations. Rio Barker as the Fox not only executed the choreography with precision and assurance but his warm personality shone through. Ella (as she is known initially in this production) is transported to the ball in a carriage made up of large flowers for wheels with an umbrella shaped like the top of a pumpkin acting as the top, the excitement amid the audience for both adults and children, was audible.
Act 2 unfolded smoothly with the set adapting from the interior of the palace to the gardens seamlessly and then onto the cottage in seconds long scene changes. Yuki Chikai’s Jester bounced along with stunningly stretched feet. Rocco Strickland’s Prince Rowan was a handsome and gracious partner especially during his duets with those troublesome Stepsisters. The pas de deux were the among the most amusing I have seen. Though the performances themselves were spot on, the choreography was skilful and intricate which brought an element of surprise.
Once the Prince noticed Cinderella, there was a palpable change in atmosphere. The innocence of the union was beguiling. The pas de deux and everything in between was dreamlike. Williamson sensibly has not gone all out for tricks and virtuosity but opted for grace and meaningful moments of chemistry-laden movement.
One of the best scenes in the ballet was when the Jester brought the lost slipper to the cottage for Cinderella’s step-family to try on. The histrionics that ensued when the slipper actually fitted Cinderella was priceless. Stilson’s Stepmother’s overreaction, her disbelief and subsequent fainting episodes absolutely made my evening. Melodrama it may have been, but it was delicious!
Strickland will make a fine dancer. In his third year, he is still coltish in appearance. However, he has a beautiful light jump and classical lines as well as being a solid partner. His Cinderella, Haru Yokoo, is already a very attractive, accomplished dancer. Completely at ease with all the technical challenges, she has a radiant stage presence. Her footwork was so pleasing, it was sometimes hard not to focus entirely on her feet, especially when wearing those sparkly pointe shoes. She will surely be in great demand professionally.
There is so much to enjoy in this Cinderella, from the concept, to Stevie Mackie’s atmospheric lighting as well as all the aforementioned. All plaudits go to the creative team and the performers. I cannot recommend it more highly, no matter what age you are.
