Royal Ballet Cinderella March/April 2023

[Balletfanp]

Actually the pun wasn’t intended - I’m obviously slow off the mark today! They could use the oranges instead….
 

And in fact their dressing room antics (basketball and otherwise) became a real feature of Instagram! They are hilarious together 😂

Edited April 17, 2023 by Balletfanp

[Emeralds]

14 minutes ago, Balletfanp said:

Actually the pun wasn’t intended - I’m obviously slow off the mark today! They could use the oranges instead….
 

And in fact their dressing room antics (basketball and otherwise) became a real feature of Instagram! They are hilarious together 😂

If they had had the 1 April performances as Stepsisters instead of as the Prince, they could prank the Prince good naturedly by putting the basketball in his tray of oranges and running off with all the oranges instead ..... 😂😂.  Or they don’t even have to do it on April Fools Day! See, the Stepsister antics don’t have to be repetitive. 😆

Edited April 17, 2023 by Emeralds

[FionaM]

Caught an encore of the cinema relay of Cinderella on Monday afternoon.  I decided to ignore all the faults I’d pointed out way back in this thread and just enjoy the dancers and the music:
 

- gasped when Lukas BB lifted Gary Avis on his shoulder

- loved the production visuals … which are better viewed from straight on.

- the overture lights didn’t shine into the cameras, proving it’s a problem for the seats on the horseshoe sides (at least on the filming night).

- enjoyed Luca’s humour as the smaller of the two step-sisters

- Marianela and Vadim were sparkly and danced beautifully, as did Fairy Godmother and the luxurious casting of the season fairies.  
- I still don’t like Spring’s variation.  Nor the garish ‘highlighter pen’ colours and shapes of the seasons’ costumes.

- the ballroom scene is still too cluttered with set and dancers and extras, although there are only 6 pairs of dancing ballroom guests 🤷🏼‍♀️

 

Heard from presenters Treloc and Darcey that this was Ashton’s first full-length ballet.  Which explains a lot. 

[Celine]

I went to see Cinderella on 12 and 16 April. Both were splendid! 

 

I feel that Marianela's Cinderella was the kindest and most gentle, whilst Sarah Lamb had that radiance yet slight awkwardness of a teenage girl. Personally I prefer Lamb's version but that's probably just because I love her dancing in general. 

 

I really enjoyed the stepsisters (Gary Avis and Luca Acri). They were hilarious and not annoying or mean. 

 

I did not like the costumes of the four fairies in Act I, and the choreography did not feel exactly right. But I'm no expert on that.

 

Gosh the ballroom gowns in Act II were dreamy. 

 

ROH seems to market this ballet as especially suitable for children (or it might be just that a lot of parents think it's a children's ballet). The ten-year-old me would have been bored, but as an adult I absolutely loved that there was no twist to the ending and they got their happily every after!

 

I flew from the Netherlands three weeks after an ankle operation, on a crutch, to see those performances. I'm so glad I did - they were totally worth the hassle. 

 

Edited April 18, 2023 by Celine

[alison]

7 hours ago, FionaE said:

- I still don’t like Spring’s variation.  

 

Am I right in thinking it's supposed to reflect bursting buds?

[LinMM]

Wow amazing Celine for making it so soon after your op …I wouldn’t fancy the ROH on crutches I must say ….hope you had an end of aisle seat!! 

[zxDaveM]

1 hour ago, alison said:

 

Am I right in thinking it's supposed to reflect bursting buds?

 

yes, that's what I remember too

[Emeralds]

5 hours ago, Celine said:

I went to see Cinderella on 12 and 16 April. Both were splendid! 

 

I feel that Marianela's Cinderella was the kindest and most gentle, whilst Sarah Lamb had that radiance yet slight awkwardness of a teenage girl. Personally I prefer Lamb's version but that's probably just because I love her dancing in general. 

 

I really enjoyed the stepsisters (Gary Avis and Luca Acri). They were hilarious and not annoying or mean. 

 

I did not like the costumes of the four fairies in Act I, and the choreography did not feel exactly right. But I'm no expert on that.

 

Gosh the ballroom gowns in Act II were dreamy. 

 

ROH seems to market this ballet as especially suitable for children (or it might be just that a lot of parents think it's a children's ballet). The ten-year-old me would have been bored, but as an adult I absolutely loved that there was no twist to the ending and they got their happily every after!

 

I flew from the Netherlands three weeks after an ankle operation, on a crutch, to see those performances. I'm so glad I did - they were totally worth the hassle. 

 

So glad that you enjoyed your two shows, Celine! Lovely review. Your dedication in taking the flights and making the theatre trips after surgery and on crutches deserves its own brava and bouquets!  💐👏💐 Hope the ROH staff were helpful at helping you get to the nearest lifts and restrooms, and helping you get to your seat safely and comfortably. Wishing you a speedy and complete recovery. 👍💪 

[Emeralds]

1 hour ago, alison said:

 

Am I right in thinking it's supposed to reflect bursting buds?

I read somewhere that the quick jumps  at the beginning were also inspired by lively lambs in spring.🐑 

 

Ashton famously always used his lead dancers to demonstrate what they could do and help come up with ideas and the steps, so there is always an imprint of the dancer’s best skills in the choreography. The dancer that he created Spring on? - Nadia Nerina, who was also his original Lise in La Fille mal Gardee. 🎀

[Suffolkgal]

Apropos of not much I remember Wayne eagling coming out of the stage door where our faithful posse was waiting, after Rhapsody, and saying with a weary sigh: Fred is so

difficult! He wasn’t moaning just acknowledging... I just hope they keep the chain of experience going from those who worked with him to the younger generation. Many of those who created great roles are gone now

[Sim]

26 minutes ago, Suffolkgal said:

Apropos of not much I remember Wayne eagling coming out of the stage door where our faithful posse was waiting, after Rhapsody, and saying with a weary sigh: Fred is so

difficult! He wasn’t moaning just acknowledging... I just hope they keep the chain of experience going from those who worked with him to the younger generation. Many of those who created great roles are gone now

A good friend of mine was in the RB in the late 70s and early to mid 80s, and she said that in rehearsal Sir Fred was always yelling 'Bend!  Bend!  Bend!' and poking them on the shoulders and back whilst getting them to do so.  She also told a funny story about how the gypsies in Two Pigeons originally had bells around their ankles, and he was always shouting 'I only want to hear one bell at the end of your dance, not 16'.  In other words, they had all better land and stop at exactly the same time!!

[Ondine]

Interesting to note in among the original cast 'A Negro: Ronald Kaye'.

 

Now vanished.  I'll say no more.

 

Lackeys. Times certainly do change.

 

Also Pamela May as 'The Ragged Fairy Godmother'. Not listed as 'old crone'. 😉

 

Incidentally, was Olga Sabadoch, 'fairy godmother in disguise' as she is now listed, playing the role at all performances so far? And does anyone know why she was brought in for the role?

 

Cinderella: Moira Shearer; Cinderella's Stepsisters: Frederick Ashton, Robert Helpmann; Cinderella's Father: Franklin White; The Ragged Fairy Godmother: Pamela May; A Tailor: Donald Britton; The Dressmakers: Anne Negus, Margaret Dale; The Shoemaker: Paul Reymond; The Hairdresser: Leslie Edwards; A Jeweller: Henry Legerton; The Dancing Master: Harold Turner; The Coachman: Robert Lunnon; The Fairy Spring: Nadia Nerina; The Fairy Summer: Violetta Elvin; The Fairy Autumn: Pauline Clayden; The Fairy Winter: Beryl Grey; The Prince: Michael Somes; The Jester: Alexander Grant; Suitors: Alfred Rodrigues, Donald Britton; The Prince's Friends: Bryan Ashbridge, Philip Chatfield, Kenneth Melville, Kenneth MacMillan; A Negro: Ronald Kaye; Violinists, Pages, Lackeys, Stars, Courtiers, Guests, Townswomen, Footmen: corps de ballet
FP Sadler's Wells Ballet, Royal Opera House, London, 23 December 1948

[Rob S]

1 hour ago, Ondine said:

 

 

Incidentally, was Olga Sabadoch, 'fairy godmother in disguise' as she is now listed, playing the role at all performances so far? And does anyone know why she was brought in for the role?

 

Yes, she's played all of them, she's great...I'd be very disappointed if someone else turned up...I don't want the fairy godmother in disguise in disguise!!

[Emeralds]

1 hour ago, Ondine said:

Interesting to note in among the original cast 'A Negro: Ronald Kaye'.

 

Now vanished.  I'll say no more.

 

Lackeys. Times certainly do change.

 

Also Pamela May as 'The Ragged Fairy Godmother'. Not listed as 'old crone'. 😉

 

Incidentally, was Olga Sabadoch, 'fairy godmother in disguise' as she is now listed, playing the role at all performances so far? And does anyone know why she was brought in for the role?

 

Cinderella: Moira Shearer; Cinderella's Stepsisters: Frederick Ashton, Robert Helpmann; Cinderella's Father: Franklin White; The Ragged Fairy Godmother: Pamela May; A Tailor: Donald Britton; The Dressmakers: Anne Negus, Margaret Dale; The Shoemaker: Paul Reymond; The Hairdresser: Leslie Edwards; A Jeweller: Henry Legerton; The Dancing Master: Harold Turner; The Coachman: Robert Lunnon; The Fairy Spring: Nadia Nerina; The Fairy Summer: Violetta Elvin; The Fairy Autumn: Pauline Clayden; The Fairy Winter: Beryl Grey; The Prince: Michael Somes; The Jester: Alexander Grant; Suitors: Alfred Rodrigues, Donald Britton; The Prince's Friends: Bryan Ashbridge, Philip Chatfield, Kenneth Melville, Kenneth MacMillan; A Negro: Ronald Kaye; Violinists, Pages, Lackeys, Stars, Courtiers, Guests, Townswomen, Footmen: corps de ballet
FP Sadler's Wells Ballet, Royal Opera House, London, 23 December 1948

I think it was originally meant to show that the oranges came from a hot country- historically, the Moors introduced the orange to Europe via the Iberian Peninsula around the late 9th century to 10th century. But if it was around Louis XIV’s time, Spain and France were already cultivating the imported fruit so it’s no longer rare although it was still expensive. Which makes rebooting the production like this 2023 version has done, problematic- the costumes look more modern than 19th century, let alone 10th century. If it’s so modern, oranges would be widespread and cheap by now (and Cinderella shouldn’t need to light a candle for illumination). The old versions at least looked period and ancient without picking a particular century. 

 

The children who portray the boy bringing the oranges now can be of any race or ethnicity, thankfully. In this cast list, everyone was credited including the children portraying the pages. 

 

From the archive, it looks like the beggar/woman in rags /crone was always played by the ballerina dancing the Fairy Godmother, and she throws off the cloak during the “transformation” which makes more sense. It was only in the 2003 production that they had a separate dancer to portray the beggar/woman in rags/crone: Kristen McNally (now dancing a Stepsister) and former first artist James Wilkie seem to have taken on most of the performances. The character also appeared covered in a ragged cloak like previous productions, hence either a woman or a man could perform it. Ms Sabadoch seems to be doing the role for all the performances in this run. 

 

 

 

 

 

 

 

 

 

 

Edited April 18, 2023 by Emeralds

[Ondine]

Yes that makes sense.  Also see original set in photo below, were the oranges fresh off the ship in the background?  So many details which Ashton & designers no doubt had thought through to make for coherence have been lost along the way.

 

It's quite a fascinating delve into the archives to see the long list of all involved in the first and subsequent early performances. Sadly so many future 'stars' appearing as er... stars no longer get a mention!

 

https://www.rohcollections.org.uk/performance.aspx?performance=1038

 

And this of course, which may have some bearing on why the role was eventually split in two.

 

NP Royal Ballet; some revisions including new variation for the Fairy Godmother to music from Prokofiev's Visions fugitives, opus 22 No 7, orchestrated by John Lanchbery; SC Henry Bardon and David Walker
D Cinderella: Margot Fonteyn; The Prince: David Blair; Stepsisters: Frederick Ashton, Robert Helpmann; Fairy Godmother: Annette Page; The Jester: Alexander Grant; The Fairy Spring: Antoinette Sibley; The Fairy Summer: Vyvyan Lorrayne; The Fairy Autumn: Merle Park; The Fairy Winter: Deanne Bergsma
FP Royal Opera House, London, 23 December 1965

 

http://www.frederickashton.org.uk/cinderella.html

 

Why Ms Sabadoch remains a mystery, why not a company member?

 

Lovely photo here of original Cinderella (Shearer),  The Prince (who doesn't have a name) Somes and the fairies & partners.

 

https://www.pinterest.co.uk/pin/sadlers-wells-ballet-in-cinderella-1948--439734351128957312/

 

 

[capybara]

2 hours ago, Ondine said:

 

Incidentally, was Olga Sabadoch, 'fairy godmother in disguise' as she is now listed, playing the role at all performances so far? And does anyone know why she was brought in for the role?

7 minutes ago, Ondine said:

Why Ms Sabadoch remains a mystery, why not a company member?

 

 

 

Isn't Olga Sabadoch a regular actor with the RB? There is a courtier in Swan Lake who is noticeable for her equal slimness.

Maybe Elizabeth McGorian didn't fancy being cast and, let's face it, the production needs very many young dancers for other purposes.

Also, using one person saves a lot on costume cost. And I think that one pre-premiere article referred to making the fairy costumes in such a way as to be usable by several dancers. The fairy tutus certainly have far looser bodices than is the norm,

[bangorballetboy]

29 minutes ago, capybara said:

 

Isn't Olga Sabadoch a regular actor with the RB?

 

She is, indeed.

[Ondine]

Yes many of the tutus look as though they have been made to 'grow into' as my mother would have said! And to allow for shrinkage!  They used to be so tight & boned Darcey Bussell had a strip of elastic incorporated next to the fastenings I seem to recall.  It helps to be able to breathe.

 

I also note the 'party frock' tutus have sashes and bows. When I was small, many many years ago, all party frocks had a sash and bow at the back, is this a revival? It also explains why there is a 'beige' strip on the basque of Cinders ball tutu above the net.  It's the sash which carries on to the bow at the back.

 

The costumes are magnificent, so beautifully made and fresh and new.  The skill and talent involved is immense.

 

Back to those oranges, which have been mentioned before.  As well as the ref to 'The Love Of Three Oranges' oranges (and bananas) were certainly very hard to come by in the war years and after so the audience would have got the 'joke' of their appearance at the ball,  and the sisters fighting over who got the largest. All echoes of the war years. I don't believe they were rationed, just pretty much unavailable. Huge queues when they did appear. Many items were still on ration in 1948.

 

(For the younger reader, Rose Hip Syrup was made and distributed during WWII for the Vitamin C content.  Children were actually paid to collect them, at 3d per pound in old money and measures.)

 

Edited April 18, 2023 by Ondine

[Guest]

31 minutes ago, Ondine said:

Back to those oranges, which have been mentioned before.  As well as the ref to 'The Love Of Three Oranges' oranges (and bananas) were certainly very hard to come by in the war years and after so the audience would have got the 'joke' of their appearance at the ball,  and the sisters fighting over who got the largest. All echoes of the war years. I don't believe they were rationed, just pretty much unavailable. Huge queues when they did appear. Many items were still on ration in 1948.

I seem to remember one of the episodes of Dad's Army (mostly made in the 1960s) making a great deal out of an Orange being a prize in a raffle or Auction for funds for the war effort and Mainwaring winning it but finding out it was an Orange for making marmalade and not for ordinary consumption (far too tart).

31 minutes ago, Ondine said:

 

 

[Guest oncnp]

37 minutes ago, Ondine said:

Yes many of the tutus look as though they have been made to 'grow into' as my mother would have said! And to allow for shrinkage!  They used to be so tight & boned Darcey Bussell had a strip of elastic incorporated next to the fastenings I seem to recall.  

 

This may be because only the Principals have their own costumes fitted. The rest of the company has to share so growing and shrinking is essential.

[capybara]

1 hour ago, bangorballetboy said:

 

She is, indeed.

 

How do you know these kinds of things BBB?

You must be a 'fly on the wall' 😉

 

 

[Richard LH]

Wishing Akane Takada a very Happy Birthday today, in advance of her very welcome return to the stage on Saturday as Cinderella.

[Jane S]

7 hours ago, alison said:

 

Am I right in thinking it's supposed to reflect bursting buds?

 

Quote from Nadia Nerina (in Clement Crisp's enormous book about her):

 

"I remember Hilda Gaunt playing the music of the Spring Fairy and when she finished, Ashton said 'Well, what does it sound like, your Fairy Spring?'  I said, 'Bursting of buds', and Ashton announced, 'Right, that's what we'll do', and that is how the solo started, and why the little jumps and the hand movements are as they are."

 

And while we're playing in the archives, I was interested to notice that Act 2 in the original 1948 production was also in a garden - a sort of pleasure garden (like the Vauxhall Gardens were perhaps) - but C.W.Beaumont, reviewing the first night, said he could only be sure it was a garden because you could see some trees and all the courtiers etc were wearing hats. Though not the Prince.

 

 

 

 

 

[Sim]

Just now, Richard LH said:

Wishing Akane Takada a very Happy Birthday today, in advance of her very welcome return to the stage on Saturday as Cinderella.

I am so looking forward to that!

[Ondine]

Well there we are. Spring is buds being sprung. Definitive. And Hilda Gaunt, stalwart of wartime touring.

 

Re Cyril Beaumont, that must be the set with the ship I posted above from 1948. It is certainly in the open air and there are stylised trees and yes the men are wearing hats but not Somes as the prince.  So, the new production reverts back to the original, though with no vessel in view bearing a fruit cargo!  Further archival delving required I think.

 

https://www.pinterest.co.uk/pin/sadlers-wells-ballet-in-cinderella-1948--439734351128957312/

 

A photo of 'Fred n Bobby' in their undies with those oranges. 1948.

 

https://www.flickr.com/photos/royaloperahouse/6171434489/

 

 

Edited April 18, 2023 by Ondine

[Jane S]

12 minutes ago, Ondine said:

Well there we are. Spring is buds being sprung. Definitive. And Hilda Gaunt, stalwart of wartime touring.

 

Re Cyril Beaumont, that must be the set with the ship I posted above from 1948. It is certainly in the open air and there are stylised trees and yes the men are wearing hats but not Somes as the prince.  So, the new production reverts back to the original, though with no vessel in view bearing a fruit cargo!  Further archival delving required I think.

 

https://www.pinterest.co.uk/pin/sadlers-wells-ballet-in-cinderella-1948--439734351128957312/

 

 

 

No, I believe the ship is the final bit of Act 3 - rather than walking off up a stairway to the stars, Cinderella and the Prince sail away to some happy foreign shore, waved off by the stars etc. 'Darkness descends and the final curtain falls.' Though presumably it's only a honeymoon?

[Ondine]

Ah. Perhaps the ship brought the oranges then took Cinderella and Prince off on their exotic happy ever after honeymoon?  😀

 

2011 production has trees too. Bottom photo. Shadowy and a bit sinister but presumably the stars are lighting the way to future bliss.

 

https://www.flickr.com/photos/royaloperahouse/albums/72157630055939437

 

 

[Ondine]

Too late to add to the previous post, so I'll add here.

 

Interestingly (to me anyhow but I'm a self confessed nerd) the 1948 production was designed by Jean-Denis Malclès 1912 - 2002, one of only four ballets he designed in what was a clearly long and distinguished theatre career. Two of the four were for Covent Garden, Cinderella and 'Le Bal des voleurs'' chor Massine in 1965.

 

http://www.regietheatrale.com/index/index/donateurs/Jean-Denis-Malcles.html

 

Sumptuous! And like the new production, slightly surreal. Though I'm unsure how much of this was actually what the production looked like as a whole as these were prints for sale. How lovely.

 

https://hprints.com/en/item/76856/Jean-Denis-Malcles-1949-Scenery-Costumes-for-Cinderella-Ballet

 

A small delight, Moira Shearer's signed shoe (Freed) from the opening night is in the V & A archives, the Cyril Beaumont Bequest, beautifully darned but without its ribbons, no doubt carefully unpicked and re-used.

 

https://collections.vam.ac.uk/item/O61319/ballet-shoe-frederick-freed/

 

And here is her 'rags' costume

 

https://collections.vam.ac.uk/item/O106188/costume-malcles-jean-denis/costume-malclès-jean-denis/

 

Her tutu

 

https://www.pinterest.co.uk/pin/38351034313233272/?

 

This, about Pauline Clayden the original Fairy Autumn (Alastair Macauley)

 

History knows her - for years this was all I knew of her - as the original Fairy Autumn in Ashton’s Cinderella (1948). There’s an irony here: actually, Ashton sketched the Autumn variation, with its memorable off-balance pirouettes, not on her - she was elsewhere, and he was busy making his first three-act ballet - but on Pamela May. When May, the original Fairy Godmother of that production, first told me this in 1997, I wondered if this was accurate - May’s memory, around age eighty, had developed occasional blips, though few - but Clayden herself, whom I met later that year, was happy to make sure I knew that Ashton had indeed originally created the variation on May. May never danced Fairy Autumn in performance, but she was a dancer Ashton liked and trusted, having known her for over fourteen years. May - who danced Odette, Aurora, Swanilda, Myrtha - was seen as a “ballerina”, in the snob ballet sense of the word; Clayden, danced a number of leading heroine roles, but not the classical-tutu kind, although she certainly did dance the Romantic title character of Giselle, for some the ultimate test of ballerinadom. On her hundredth birthday, Clayden recalled with pride how Ashton coached her for the role of Giselle, which she then danced four times at Covent Garden; and she treasured the letter of warm congratulations he wrote to her after her debut on the role.

 

https://www.alastairmacaulay.com/all-essays/gezp2a3zkz71jsc0j4cwa0hoyq5x3s

 

 

Edited April 18, 2023 by Ondine

[Celine]

10 hours ago, LinMM said:

Wow amazing Celine for making it so soon after your op …I wouldn’t fancy the ROH on crutches I must say ….hope you had an end of aisle seat!! 

 

9 hours ago, Emeralds said:

So glad that you enjoyed your two shows, Celine! Lovely review. Your dedication in taking the flights and making the theatre trips after surgery and on crutches deserves its own brava and bouquets!  💐👏💐 Hope the ROH staff were helpful at helping you get to the nearest lifts and restrooms, and helping you get to your seat safely and comfortably. Wishing you a speedy and complete recovery. 👍💪 

 

Thank you! This is not really related to Cinderella but I should write that I was really happy with the accessibility at ROH. I did email beforehand to discuss this, and my feeling is that they are willing to accommodate your needs as long as you are not in the way of other visitors. With the help of ballet adrenaline rush, I could wobble without a crutch for about ten seconds so the easiest solution was to hand my crutch over to the usher and get to my seat whilst using the handrails as support. Then during each interval the usher would bring the crutch to the door where there were a few steps. 

 

I was in amphi L48 and G69 - it took a bit courage to sit at G69 because it was one of those steep amphi seats where terrible things could happen if you fell in the wrong direction whilst struggling to get to your seat!

 

My fellow audience members were super SUPER kind, and a crutch seemed to be an excellent conversation starter! There were hilarious jokes made when stage-dooring with a fellow lady on crutches. 

 

[Dawnstar]

I wonder if the Act II entrance of Cinderella has been slightly amended. I'm sitting in the same seat I was in 8 days ago. Then my view of Cinderella descending the steps was significantly obstructred by the ensemble standing at the side. Tonight I had a clear view of Cinderella & the ensemble were barely visible, so I wonder if they've been moved wingwards.

[capybara]

34 minutes ago, Dawnstar said:

I wonder if the Act II entrance of Cinderella has been slightly amended. I'm sitting in the same seat I was in 8 days ago. Then my view of Cinderella descending the steps was significantly obstructred by the ensemble standing at the side. Tonight I had a clear view of Cinderella & the ensemble were barely visible, so I wonder if they've been moved wingwards.

 

The Season Fairies were no longer on the diagonal in front of the Stars the other night but more in the group near the proscenium arch. So I felt that there had indeed been a change as, previously, the Summer and Winter Fairies had masked the staircase for me.

 

 

[LinMM]

OMG Celine. I was in the Amphi the other week just looking at seats and seeing if there was a possibility of sitting in seat G.64 ….which is VERY near the entrance AND an end of aisle seat and I couldn’t cope with that ….even able bodied (but can suffer from vertigo). How on Earth you managed a seat further along in row G and then one right up in row L with crutches I just can’t imagine …I would have just frozen and been stuck in the L seat all night lol!! How on Earth did you get down to the entrance bit!!!! 

 

[Rob S]