The Northern Ballet are one of my favourite dance companies. So, I was full of anticipation for their latest version of Cinderella. How would they transform this timeless classic about unjust oppression and triumphant reward?
This version is choreographed and directed by David Nixon OBE, with an original score by Philip Feeney. Given the pedigree of those involved I was expecting a dazzling, mesmerising retelling of this well-loved folk tale. The setting is Moscow, with costumes that embody the spirit of Russia, especially the headwear. Act one begins with a family celebration for the young Cinderella’s birthday. Rachael Gillespie (young Cinderella) dances the adoring daughter and youthful friend to the young prince Mikhail (Kevin Poeung) with great effect.
Her stepsisters tease her, throwing her shawl over a bridge. As her father tries to retrieve it tragedy strikes, and he is killed. Cinderella’s stepmother blames her and takes out her grief on her stepdaughter. When the family move, she makes a servant of Cinderella. Minju Kang personified the grief-stricken wife and sternest of stepmothers. Her lines were amazing and her walks both delicate and menacing at the same time. The dances with her own daughters, Natasha (Kyungka Kwak) and Sofia (Ayami Miyata) showed us a loving but pushy parent. Natasha and Sofia are portrayed as spoilt and self-centred, mirroring each other’s movement; their petit allegro sections are playful and pleasing to watch.
Antoinette Brooks-Daw (Cinderella) captivates the audience with her depiction of the isolated and lonely young woman, who misses happier times, which the reflective scene emphasised well. Sean Bates (Prince Mikhail) was very convincing as the man beset by pushy women seeking to become his wife or mother-in-law. The ball dance with Cinderella was so tender and affectionate, and his distress at losing her evident. However, when the stepmother presents Cinderella in rags, he laughs at the thought that this could be his dance partner at the ball. After the derision she is met with, I am not so sure I would have been jumping into his arms.
My personal highlights were the winter market, with its colourful scenery and character dances. Look out for the bear. Here we are introduced to the magician (Mlindie Kulashe) who also danced the role of her father. The skating scene at the lake was delightful, well choreographed and beautifully danced. It was as though they were gliding on ice. The transformation of Cinderella for the winter ball was indeed magical, and the fur coats becoming Huskies was clever and imaginative.
The choreography delivered a subtle subtext, conveying the relationships in a more serious way. The scenery was very effective, adding to the momentum of the pieces. The music was fabulous and took you on a journey through the varying moods, creating tension, romance and playfulness, all in the right degrees.
Well worth seeing, a dance extravaganza for all the family. This production certainly lived up to my high expectations.
[Patricia McNamee, September 2019]
Northern Ballet’s Cinderella is at Woking’s New Victoria theatre from Wednesday 18 September to Saturday 21 September, with matinees on Thursday and Saturday
Woking Writers Circle 