A traditional take on Cinderella, complete with magical transformations, enchanting choreography and a few unexpected moments of comedy.
This adaptation of the classic fairytale was originally choreographed by Michael Pink for Milwaukee Ballet in 2009, bringing a touch of theatrical magic and sparkle to the stage – and this week, it has been delighting audiences at Newcastle’s Theatre Royal.
A young boy and a girl were sitting in the row in front of me and, afterwards, it struck me that this would make a lovely introduction to the world of ballet. With mesmerising dance routines, fluttering tutus and glittering headpieces, there’s plenty to capture a young audience’s imagination.
This is very much a traditional interpretation from Northern Ballet, staying close to the story we all fondly remember. One notable difference is that the Fairy Godmother is replaced by Cinderella’s deceased mother, whose grave we see in the opening scene.
Lovingly watching over Cinderella as she endures the cruelty of her stepmother and stepsisters, her mother eventually whisks her away to a magical garden, where the spirits of the seasons arrive bearing gifts to help her make it to the ball – fabric for a gown, a pumpkin for a carriage and mice to pull it along.
A carriage fit for a princess
The set is, for the most part, fairly pared back, taking us from Cinderella’s wooden-beamed home to a dark, atmospheric garden and, of course, the royal palace for the lavish ball.
The showstopper is undoubtedly Cinderella’s bejewelled carriage. It was like seeing an illustration from a storybook come to life – the stuff of every little girl’s dreams! It’s easy to see why the Prince is besotted from the moment she makes her entrance.
The ballet is accompanied by Prokofiev’s classic score, performed live by an orchestra. It makes such a difference to the overall experience, really enhancing the atmosphere in the theatre.
When Cinderella and the Prince finally meet at the ball and take to the dance floor together, it’s a captivating moment – quite literally sweeping Cinders off her feet. Saeka Shirai brings a delicate, almost ethereal quality to her portrayal of Cinderella, gliding effortlessly across the stage with such elegance and an endearing innocence.
Comedy, choreography and a little catfishing
Cinderella’s stepsisters, played by Yu Wakizuka and Andrew Tomlinson en travesti, bring the comedy in spades. Their disgruntled facial expressions and clumsy, exaggerated movements perfectly capture their rather unpleasant characters. There’s also something quite impressive about the way both dancers, dressed in garish pink and green outfits, manage to make their movements so wonderfully awkward while still demonstrating some seriously skilful ballet technique. It turns out there’s an art to dancing badly!
When the Prince finally reunites Cinderella with her glass slipper, I did find myself wondering how he’d managed to spend an entire evening dancing with his mystery woman without recognising her the following day. The joy of revisiting a childhood story through adult eyes…
Perhaps Cinderella was the original catfish, with the Prince seemingly unable to recognise her dressed in her everyday clothes!
A fairytale ending
This is an enjoyable and visually appealing production, particularly if you’re a fan of more traditional ballet. That said, split across three acts and two intervals, it does feel a little drawn out in places, with some of the dance sequences lingering a touch too long.
But who can resist a childhood classic with the happiest of endings? Especially when the finale is accompanied by a shower of glittering confetti on stage.
Northern Ballet’s Cinderella runs until 31st October 2026 at Newcastle’s Theatre Royal. For more details and tickets, visit www.theatreroyal.co.uk.
