HomeTheatreREVIEW: Cinderella (Royal New Zealand Ballet)

REVIEW: Cinderella (Royal New Zealand Ballet)

[A fairy-tale for our challenging times]

The Royal New Zealand Ballet’s ‘dream group’ of choreographer Loughlan Prior and composer Claire Cowan return with their largest and most bold challenge up to now. Completely timed to coincide with the reopening of Wellington’s St James Theatre, it’s clear that with a protagonist who rescues herself, two princes, an animated tapestry, and an unconventional coach experience to the ball this Cinderella will probably be no restaged relic. 

Emboldened by the success of their 2019 manufacturing Hansel & Gretel, the artistic group have struck a fantastic steadiness of joyful self-awareness of the classical narrative ballet kind; celebrating the very best parts and shifting on from the problematic ones. The result’s a queer, feminist ballet concurrently timeless in setting and up to date in really feel. In reconsidering the Cinderella story, Prior ensures beloved parts are maintained (Cinderella’s transformation, the ball, the clock placing midnight, and the all-important glass slipper) whereas popular culture references and humour are woven all through. Developed collaboratively with set, costume and visible results companions Emma Kingsbury and POW Studios, Cinderella is cohesive, holistically crafted, and resoundingly spectacular. Prior’s consideration to world-building pays dividends in all his works, nevertheless, the dimensions and artistic freedom of Cinderella provides all the group the scope to take a position deeply, create freely and therefor shine.  

From the animated façade of the St James to the depth and top of staging and idea, Cinderella feels akin to fashionable musical theatre, igniting the narrative in 3D and difficult the boundaries of the proscenium. Equally, Cowan’s authentic rating is rooted within the classical, however enriched and expanded by her cinematic fashion and eclectic musical influences. An exuberant Orchestra Wellington carried out by Hamish McKeich wield contrasting time intervals, style and devices with vibrancy and panache. Incorporating medieval hurdy gurdy, taiko, drum equipment, congas, Eighties synthesiser, Latin rhythms, recorded EDM alongside a standard orchestra might simply develop into chaotic or fractious, nevertheless, Cowan’s thought of leitmotifs, emotional narrative construction and look after “danceable” composition guarantee the alternative consequence. Cinderella’s rating strikes the story together with mandatory emotional integrity and delivers the dance occasion of the 12 months.

Sparked by the feminist poetry of Amanda Lovelace and embracing the idea of distinction, Kingsbury’s units and costumes give the designer an energetic presence within the ballet. Referencing fashionable branding, conventional tulle, interval costume, popular culture playfulness, and character color palettes, clothes are brilliantly daring and impressively detailed. Costuming of the principle characters is efficient by way of identification and improvement, and provides sudden surprises for viewers members watching carefully. A trolley-load of pleasant mannequins emphasises the worth of coordinated ensemble costuming, which can also be employed with the big forged of kid extras. Sadly, some choreographic element and readability of motion of The Fab 5 and Eligible Maidens is compromised as a result of sheer visible busyness onstage, diminishing their affect and presence. 

On the coronary heart of Royal New Zealand Ballet’s Cinderella are the dancers, and Prior’s assortment of characters developed along with his beautiful pithy humour. Dancing the title function on opening evening, Mayu Tanigaito as Cinderella is magnificent. Her characterisation, emotional vary, consideration to element, heat, vitality, and virtuosic classical method give her the star-power to drive the ballet’s narrative arc, and make sure the viewers is behind her each step of the way in which. Partnered by Laurynas Vėjalis because the candy and honest Royal Messenger this casting seamlessly matches two principal artists with inimitable elevation and sustained management. Lovable and quietly brave, Prince Charming is danced with pleasant sensitivity by Joshua Guillemot-Rodgerson. When he finds his soulmate within the Kingdom Subsequent Door’s Prince Dashing, danced by Shae Berney, “the 2 princes share their tales, and the world begins to make sense.” This pairing provides rise to Cinderella’s most revolutionary choreography, and the romantic pas de deux between two males introduced free from farce or parody seems like a milestone for the classical ballet canon.

Because the Stepsisters, Sara Garbowski and Kirby Selchow are a completely dynamic duo, brilliantly entertaining and flawlessly humorous. Ana Gallardo Lobaina because the social climbing and manipulative Stepmother supplies a suitably vile juxtaposition to Cinderella’s decency, whereas Kate Kadow because the Fairy Godmother delivers fouettés and enjoyable resplendent in her plastic tutu. The Fab 5 – an amazing addition to the plot and an absolute hit the viewers – are versatile and fascinating, notably Shaun James Kelly as Thiery who’s completely forged. Principal Paul Mathews as Cinderella’s grieving and susceptible Father is detailed and sustained, and it’s a deal with certainly to benefit from the talent and stage presence of Ballet Grasp Clytie Campbell as she returns to the stage within the character function of the Queen.

Beneath the colourful manufacturing values and astute darkish comedy, Cinderella is a celebration of individuality, authenticity, the story of discovering your voice, and the braveness to hunt your personal “blissful ever after”. A joyous event, the Royal New Zealand Ballet’s manufacturing is a fairy-tale for our difficult occasions, and because the spontaneous applause and cheers erupting from the very first scenes indicated, there’s nonetheless magic aplenty to be discovered within the theatre.

Cinderella excursions Wellington, Auckland, Napier, Christchurch and Dunedin 3 August – 3 September, 2022.

Choreography: Loughlan Prior

Music: Claire Cowan

Set & Costume Design: Emma Kingsbury

Lighting Design: Jeremy Fern

Visible Results Accomplice: POW Studios

Orchestra Wellington carried out by: Hamish McKeich



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