Cinderella is a two-dimensional story. Yet, there’s something irresistible about the theme of the oppressed overcoming extreme disadvantage.
Everyone is familiar with this fairytale of dark family politics and the bullying of a mistreated girl whose future outlook is grim. A magical intervention places the abused Cinderella at the heart of a rich and wonderful new life with a loving Prince. It’s like going to see the film Titanic – everyone knows what happens, but this ceases to matter if the story is magically told.
Choreographer Ben Stevenson set himself the challenge not only to tell the story well but also to make his interpretation appeal to both parents and children. That’s a tough brief to fulfil.
Formerly the artistic director of Houston Ballet, Stevenson is English and this perhaps explains his decision to cast men in the comic roles of the Ugly Sisters. Nathan Scicluna and Hao Bin camp it up as best they can in British pantomime tradition, romping through their dancerly pratfalls in hot pink dresses teamed with lurid green trim. The pair harvest hoots of laughter from the very young.
Act 1, in which Cinderella, gracefully and warmly channelled by Rachael Walsh, interacts with her loathsome sisters and mean stepmother, takes a while to fire. This is partly due to the claustrophobic domestic set and the stuttering choreography that teasingly flames into life and then stops just as suddenly in response to Prokofiev’s irregular phrasing. The plot is mostly carried through mime and stylised acting.
Walsh fills every step with a mix of dignity, vulnerability and longing, and that’s a huge plus, yet Stevenson’s moves and Cinderella’s expression, which consistently flickers between hope and despair, becomes repetitive. Gareth Belling’s take on Cinderella’s father isn’t authentic. He looks too young and acts more like a brother than a Dad. Act 1, Scene 2, beamed to an enchanted glade frequented by the fairies of Spring, Summer, Autumn and Winter, fares much better. Summonsed by the fairy godmother (Meng Ningning) the wraiths entertain Cinderella.
The second act is the most rewarding. Rian Thompson is very good as the Jester and brings zest and humour to the role. His exuberant, stylish solos lift the energy. In this scene, the courtiers, in cobalt blue and white costumes, waltz in uplifting, sweeping gestures, and the romantic setting with a mountain scape outlook is arresting. The dance executed by the gender-bending sisters and the jester works well, with each of the siblings’ toxic natures enshrined in their every step.
The ballet’s highlight is The Prince (Matthew Lawrence) and Cinderella’s elegant and expressive pas de deux. Here the challenging and intricate choreography that intertwines beautifully with the music is superb.
Overall, this is entertaining, the skill level is high, and the dancers’ commitment unmistakeable. The timeless storyline and whimsical costuming, that includes a trope of carriage-pulling horses with silky pluming tails, can’t fail to please. Even so, it will appeal to children more than adults. Prokofiev’s rich melodic score is capably realised by the Queensland Symphony Orchestra under the astute direction of British conductor Andrew Mogrelia.
(Please note that the dancers swap roles for each performance).
Rating: 3 ½ stars out of 5
Queensland Ballet present
Cinderella
Choreography: Ben Stevenson
Staged by Tim O’Keefe
Conductor: Andrew Mogrelia
Music: Sergei Prokofiev (orchestral arrangement by Andrew Mogrelia)
Set Design: Thomas Boyd
Costume Design: Tracy Grant Lord
Lighting Design: David Walters
Queensland Symphony Orchestra
Concertmaster: Warwick Adeney
QPAC Playhouse, Brisbane
6 – 20 April
