Birmingham Royal Ballet - Cinderella - Spring Tour 2017

[cavycapers]

I saw Delia and Tyrone in Birmingham on Friday, and although I have seen this production of Cinderella many times, this is the first time it has moved me, rather than just entranced me. Tyrone looked as if he couldn't believe his luck at the prize he had won, he was so tender with his Cinderella. The huge one-handed overhead lifts were no problem for these two either, despite Delia's lovely height and long limbs.

Edited February 20, 2017 by cavycapers

[trog]

I was there Friday too. It's a shame Delia slipped over - it wasn't very elegant, but she didn't seem to hurt herself. It was a bad night for falls, as Maureya slipped too but I don't think many people noticed. Great performance, even though Tyrone isn't my favourite dancer.

[Jan McNulty]

. Great performance, even though Tyrone isn't my favourite dancer.

 

 

Wash your keypad out with soap Trog!

[Jan McNulty]

I was at both performances last Thursday.

 

I love David Bintley's production of Cinderella; I love that the sister's aren't too malicious.  I love the stars and I love the duets for Cinderella and the Prince.  The orchestra was magnificent throughout.

 

On Thursday afternoon we saw Maureya Lebowitz with Mathias Dingman.  She was utterly sublime in the role and Mathias Dingman was a very generous partner as her Prince.  It was just lovely.

 

In the evening a delightful Miki Mizutani made her debut with Cesar Morales as her very elegant and achingly romantic Prince.

 

I can't wait for the Lowry ... 6 casts in 6 performances, all being well.

[cavycapers]

The stars make me cry!

[Jan McNulty]

I was at the matinee yesterday.

 

If I enjoyed the 2 performances last week, and I did, the performance yesterday afternoon was sheer bliss.  Delia and Tyrone took the production to an entirely new level.  Delia gave such a beautifully nuanced performance that she WAS Cinderella.  Tyrone was born to dance the Prince.  They were just sublime together.

 

Celine Gittens and Ruth Brill as the Step-sisters were both malicious and hilariously funny.

 

Roll on the Lowry!!

[Don Q Fan]

Great....I can't wait for them next week!!

[Jan McNulty]

Birmingham Royal Ballet opened at the Lowry tonight.

 

We saw the most ravishing performance led by an incandescent Jenna Roberts and a most glorious William Bracewell.  

 

Marion Tait chilled my bones as Stepmother and Samara Downs and Laura Purkiss were outstanding as the step sisters.

[northstar]

I was at opening night at the Lowry, Salford with Jenna Roberts as Cinderella and William Bracewell as the Prince. My first live viewing, I saw the filmed version on BBC some years ago. (I did see ENB's version live in 1998 I think)

 

I found both the work of art, and its performance utterly brilliant and captivating, everything working in harmony to produce a special experience. (I must say this is typical of BRB performances I have seen in the past and the standard I would say is consistently the best of the companies I have seen perform). The sets and costumes, the choreography, the music, all mutually enhancing each other and giving me that special joy and satisfaction which is the reason I love ballet.

 

I did not know John Macfarlane was the designer, I had experienced his work in the BRB Nutcracker. The same genius displayed there was evident in Cinderella, with the pallor of the opening act, the cold dazzling beauty of the stars, the richness of the ball scenes, the dramatic prologues in the acts like the opening grave scene and the search for woman who fits the slipper - the chair on the mountain of shoes.

 

As I have described in another topic 'what's all the fuss' I greatly enjoy Prokofiev's music in Cinderella (whereas Romeo and Juliet I admire rather than enjoy) it seems to have some mysterious, magical quality which matches perfectly with the tone of fantasy and magic of a fairy tale. 

 

I found no dull spots in any of the choreography. Rather, the layering of ensemble and individual pieces provided spectacle after spectacle after spectacle joined fluidly and deftly, using the music perfectly - a mastery of dramatic and theatrical dance narrative. The humour I appreciated and found grotesque rather than pantomime.

 

I am sorry I will not see Elisha Willis dance this live, since she retired last year (I've seen her live in nearly all the Sir Peter Wright productions). But Roberts convinced me both in her individual scenes and her partnership with Bracewell. Actually, Bracewell was a significant reason why I booked opening night having seen him before and been very impressed. He did not disappoint - his stature and grace absolutely princely. (I like the fact that in Cinderella, the prince's arrival at the ball is as dramatic and affecting as Cinderella's)

 

I was sorry that Lebowitz was not cast to dance the lead role in Salford (I noticed her several years ago and have wanted to see her in a lead role), and if she had I would probably have booked to see her primarily. At least I saw her as Autumn fairy tonight. But I have to say Celine Gittens' Summer fairy shone out the brightest to me.

 

Right up my street in every department. Splendid night of ballet. I would strongly recommend it to anyone.

Edited March 2, 2017 by northstar

[Jan McNulty]

This afternoon we were privileged to watch Nao Sakuma and Chi Cao rolling back the years, giving us a very emotional and moving performance of Cinderella.  I was sobbing out loud during the final duet it was so beautiful.

 

This evening we had another delightful performance from Miki Mizutani and Cesar Morales.

[Jan McNulty]

Momoko Hirata and Joe Caley were exceptional tonight.

[northstar]

I attended the Sat eve performance of BRB Cinderella at the Lowry Salford with Delia Matthews and Tyrone Singleton as the leads. I also went to opening night, and with the motifs of the score and the images from the performance dancing in my head since then, the urge to see this ballet again became stronger and stronger. I am so glad I did. Once more I was treated to an outstanding performance of the highest quality, transported to another realm, and enthralled throughout.

 

Wonderful moments I was gladly reminded of tonight: the violins on stage when the dancing master arrives at Cinderella's house; the opening of the stage mouth at the end of act I to reveal the wide night sky; followed quickly by the wondrous complexity and energy of the star waltz ensemble; the gorgeous rich costumery in the act II ball of deep red and indigo, and a stage full of dancers finishing a number with synchronised chainee turns, against which Cinderella and the Prince sparkle like silver ornaments; the floating tails of the prince's coat enhancing the beauty of (particular impressive in Singleton's case) his leaping.

 

I had not seen Matthews dance a lead role and she fulfilled, nay exceeded my expectations. The regal poise she displayed in the ball scenes was truly astonishing and a wonderful comparison to the other performance I saw; where Jenna Roberts, to my eyes, portrayed an incandescent (to use Janet's description) delicacy. The grandeur of Matthews' interpretation was a most interesting thing, underlining the oppression of her natural beauty in the  downtrodden kitchen scenes. Her solo at the ball I found so thrilling it really quickened my pulse.

 

With Singleton you know you are in safe hands and the cat-like height on the leaps and silent landings you might almost take for granted. And of course, the spectacular lifts in the pdds (which elicited spontaneous applause on opening nights) completely secure and tremendously effective.

 

I conclude that this production of Cinderella is a most masterly, sophisticated (even in the comedy), work of art. I had wondered whether on opening night that I had praised it too much but my second viewing rather increased my admiration. I hesitate to say I'd put this production on a level with the Sir Peter Wright ballets I've seen (through BRB performances mainly at the Lowry). The design (elements of story-book illustration amongst backdrops and costumes of great splendour), the dancing (perfectly pitched verve and classical poise never crossing into acrobatics, amongst the best ensemble pieces I've ever seen, and most memorable pas de deuxs), the music (infectious and mysterious, exciting rhythms and sweeping majesty, slipping in and out of discord but never jarring).

 

I did note there was no Spanish dance, which I enjoy when listening to the score, and think I remember seeing in the only other live Cinderella I've seen (ENB).

 

Glad to see seats about 90 percent full tonight, and I left the Lowry tonight seeing the trucks already packing up signalling the departure of the company after once more spinning magic and wonder on the stage of the Lyric theatre and I am grateful for all the times I've seen them deliver the most brilliant performances here. 

[Don Q Fan]

I have to agree with all northstar says last night's performance was truly stellar in the capable hands (feet?!) of the sublime Delia Mathews and wonderful Tyrone Singleton.  Can he jump any higher?  The one handed lifts were a breeze for Ty!  Delia and Ty were magnificent in the big pdd in Act2 I did not want it to end they were beautiful together.  Just makes me all the more mournful about the La Bayadere situation. Celine Gittins as Skinny and Ruth Brill as Dumpy were hilarious and so cleverly danced given the awkward steps they had to perform and Samara Downs was a "horrible" step-mother and Yvette Knight was the lovely Fairy Godmother.  The corps de ballet were great - although I felt the stage was a little small for some of the choreography for the stars.  I seem to recall that the Hippodrome is a bit bigger because for e.g. the opening scene was cramped more at the Lowry than when I saw it in Birmingham last time it was on.  Tell me if I am wrong.   I loved the stars as they shimmered and glistened so brightly across the stage - I love seeing tutus like this too so I was in ballet heaven all the more.

The orchestra was just wonderful the music was sooooo mellow  I loved it.  The stage sets and costumes were stunning and a reminder of the huge loss our art has suffered with the passing of John McFarlane.

As ever BRB excelled themselves - and I wish that I could find a philanthropist with half a £mill to get Bayadere for us.  A couple of pics from the curtain call.Delia & Tyrone

Company

Edited March 5, 2017 by Don Q Fan

[Johnpw]

 The stage sets and costumes were stunning and a reminder of the huge loss our art has suffered with the passing of John McFarlane.

 

 

I know Peter Farmer died recently but haven't seen anything about John McFarlane (who, I agree, makes any production special).

[bangorballetboy]

John Macfarlane is very much still alive and I have feeling we'll be seeing more of his designs very soon.

[Don Q Fan]

Oh dear getting my Fs confused????

[alison]

Tyrone Singleton looks distinctly like Carlos Acosta in that (whole-cast) curtain-call picture!

[Two Pigeons]

Indeed he does Alison. I am sure he would be thrilled with the comparison.

[Don Q Fan]

Funny but my Mum and I both thought he looked very like Carlos as well.  Uncanny resemblance.

[Jan McNulty]

I'm a bit late here but thought I would do a ramble on my thoughts on the production.

 

When this was premiered in 2010 I enjoyed the production very much.  I enjoyed it very much on its 2012 revival.  For the 2017 revival I have ABSOLUTELY LOVED this Cinderella.  I don't think Mr Bintley has done much tweaking but somehow the whole production from start to finish just sparkles and makes perfect sense to me.

 

It's a pretty straightforward telling of the Cinderella story I know.  The prologue showing Cinderella and her Dad grieving in the cemetery after the funeral of her Mum and off the lady who becomes her Step-Mum already showing her intent by leading off Dad and this sets the scene.  We move forward to Cinderella's dingy home in the kitchen.

 

The Step-sisters are gawky and malicious and the Step-Mother is chilling.

 

Is the Fairy Godmother Cinderella's Mum looking out for her?  The theme of the shoes runs through their relationship which is what has made me wonder.

 

The set and the costumes are utterly fabulous and, apart from the dreary kitchen, magical to me.  The starry back-cloth (shades of VVG) means that the seasons and stars fit perfectly into the action rather than me wondering why they are there.  As for the clock in the ballroom scene ... just wow!

 

There is no retribution meted out to the Step-Mother and Sisters ... they just fade away in the final scene leaving the Prince and Cinderella wrapped up in each other.

 

Altogether I saw nine performances between Birmingham and The Lowry and I can't say I saw a duff one amongst them.  There really is some beautiful choreography in this production and the final duet moved me to tears at every performance I saw.  

 

At the Lowry six Cinderellas and Princes performed.  I have already mentioned most of them above. 

 

On Saturday afternoon Yaoqian Shang and Yasuo Atsuji made their debuts in the leading roles and what a treat and privilege it was to be in the audience.  Yaoqian Shang is a very special young lady indeed and, even on her debut, was absolutely under the skin of Cinderella.  Yasuo Atsuji showed just what a versatile performer he is giving us an elegant and very caring Prince.

 

The Lowry week ended with a glorious performance from the sublime Delia Matthews and the magnificent Tyrone Singleton.

 

As the Step-Mother Marion Tait gave us a master-class in performing this chilling role.  Every tiny gesture had meaning but she was never over the top or pantomimish.  Daria Stanciulescu, Laura Purkiss and Samara Downs were all excellent in the role and Daria was impossibly glamorous.

 

I also saw four different Skinny/Dumpy pairs who all brought something different to the role and were in turns silly/gawky young women and malicious step-sisters.  The pairs were all well matched and were Samara Downs/Laura Purkiss, Delia Matthews/Jade Heusen, Celine Gittens/Ruth Brill and Alys She/Laura Day.  

 

Delia Matthews, Yvette Knight and Yijing Zhang were all serene and benevolent Fairy Godmothers.

 

There are lots of little cameo roles too.  I particularly enjoyed Lachlan Monaghan as an incredibly snooty Dancing Master in Act 1.

 

I hope it's not another 5 years before this lovely production is back in the rep.  (There is still Plymouth and Sunderland this season but I can't get to either this time).

[northstar]

Thanks Janet for your thoughts on the many performances you saw, I found particularly interesting your comments on Yaoqian Shang and Yasuo Atsuji who I have not seen in any leading roles. I find the kitchen scenes not exactly magical but nonetheless weave a spell, a mood, just as effective as the more dazzling scenes.

 

I still can't get the experience of this production out of my head, and reading that Maureya Lebowitz is cast to dance the lead in Sunderland, I plan to go there to see it again.

[northstar]

Just back from Sunderland, having seen BRB Cinderella at the Friday Matinee with Maureya Lebowitz and Mathias Dingman as the leads. My first visit to the Sunderland Empire and I specifically went to see Lebowitz in a lead role who I have admired since seeing her Bluebird in the Sleeping Beauty some years ago. 

 

Another fabulous performance, BRB never fail to deliver I don't think I've ever seen a duff performance from them. Lebowitz convinced me and I am so pleased to have seen now three different brilliant interpretations of the title role in this run, including Lebowitz, Delia Mathews, and Jenna Roberts  (my 'reviews' are above). Lebowitz I would describe as radiant in the second act, combining effervescence with nobility and technical mastery. Each woman I have seen as the lead has interpreted the contrast between the kitchen-slave role and the princess role with such impact. Lebowitz in the kitchen she seemed to have a subtly defiant mischievousness or inner strength which was all her own.

 

Dingman I also don't think I have seen before in a lead role and he matched Lebowitz in mastery of the role, and I sat back and enjoyed the classical purity and verve of the the leads' solos and pdds.

 

On the third viewing, I think I would have to admit that if I were to see more performances soon, the comedic scenes might become slightly tiresome to my tastes. But I really wouldn't mind seeing the ensembles in Act II again quite soon, since they are so rich and complex. A few further thoughts in addition to my previous posts. The star waltz at the end of act I (night time) really is a thrilling piece of complex and dazzling beauty, as is the companion ensemble at sunrise in Act III. The extravagant frock coats of wine and indigo of the men in the ballroom scene are as full and flowing as the women's skirts! Some of the elements of choreography that I could watch again and again; the fast jumps backward into hold (with pirouette) that Cinderella makes with the Prince in act II; the glorious spiralling lift in arabesque in the final act III pdd.

 

Overall, magical choreography of exquisite taste that makes me take my hat off to Bintley. And the recent news of financial troubles at BRB makes me even more appreciative of their existence, and even more conscious of taking them for granted. I was looking down at the orchestra today thinking how magnificently they played the Prokofiev score, and wondering at the exceptional quality involved in the whole enterprise (every artist is right at the top of their profession) and how fortunate we are to have this company touring throughout the UK.