ROH, filmed on 12th April 2023
This is going to be a short review, but not that sweet, as my experience of the Royal Ballet’s Cinderella from 12th April at an encore cinema screening was average.
Much hype surrounded this new production; new costumes and sets, a marketing photoshoot and an extensive run of 28 performances where everyone gets a go at something. And due to Covid delays this new production coincides with the ballet’s 75th anniversary – this surely meant this is going to be a treasure.
Hmmm, not really. I came away from the performance wondering if anyone had critically considered the actual ballet that all this energy and budget was being directed at? I’m not sure anyone held up a hand in a meeting and said, “Should we just have a think for a moment if this ballet deserves this? If we compare it to other works of Ashton, or other choreographers even, or re-instating a lost ballet – is this one good enough to warrant this treatment?”
Because I think if they had truly thought about it, this extravagance for Cinderella wouldn’t have happened. Yes, Frederick Ashton is the Founder Choreographer of the Royal Ballet and it was his first 3-act ballet, yes it is the start of the 5-yearly Ashton Festival, yes it is a lovely fairy story BUT is it really good enough for 2023?
The intrinsic problems for me include the extensive comedy scenes with the step-sisters (even though Gary Avis and Luca Acri did an outstanding job). I had come to see ballet not pantomime.
Secondly, the classical tradition of taking applause and a bow after pas de deux. In 1911 Michel Fokine was advocating for ballet to be a true artform and not pander to the audience, but to maintain an artistic presentation and story-telling throughout the piece. How are we still failing to do that? How would we feel if Tom Cruise stopped for a bow and a clap after a stunt on Mission: Impossible? It is totally implausible. So why was Ashton still including this already outmoded classical tradition in the 1940s and why are we still doing it in the 2020s?
Thirdly, lack of dance content. Yes, the season’s solos are lovely and the Fairy Godmother has some beautiful enchainments. Yes, the second act solo and pas de deux are wonderful. But I think if you totted up the classical ballet time and compared it to the play acting with a broom and pantomime sections, the dancing would come second.
Fourth, who is the target audience for this ballet? I came to the conclusion that it is 10-year old girls. In which case it may be better suited to a Christmas run. It’s got all the magical elements that can sweep you away at that age. Plus if you are taking ballet classes, the beauty of the dancing and the pretty fairies with their light-up wands would be sure to inspire you. But what of the seasoned ballet audience who want something more uplifting, or thought-provoking or interesting?
I also felt the delivery was up and down at this performance. Marianela Nunez is the most brilliant technician and I love watching her dance, but I didn’t love the acting last night. I thought she was going to cry with overwhelming emotion as she descended the steps en pointe rather than portraying wonder and delight that her dreams had come true and she was at the ball. Vadim Muntagirov danced their pas de deux with light, joy and the wonderful feeling of falling in love – in contrast to Marianela who danced it with tortured yearning. I think she had forgotten that this one ends happily ever after and not dead on the floor.
The seasons did a lovely job, especially Mayara Magri as Winter, who swooped and used her back beautifully (just as Ashton would have wanted). The four suitors did a nice job in their pas de quatre that included a jump or movement on every beat, and as mentioned before the step-sisters were great, just better in a pantomime than a ballet.
So I won’t be returning to see this ballet again anytime soon. On the plus side, the other Ashton works starting in the Autumn and the intrigue that Sarasota Ballet may perform some lesser-known works in the Linbury Theatre during 2023/4 is very appealing.