Royal Ballet Cinderella March/April 2023

[Blossom]

Adored this evening, my last viewing of this run of Cinderella and this time with my daughter who had only seen the cinema showing previously. She loved the added magic and sparkle of the live performance.

Stepsisters were on form tonight, they really gave it their all and I found I particularly enjoyed the chemistry between Avis and Acri. Yes, they are different to Helpmann/Ashton, but the world has changed. I didn’t find them at all camp, but perfectly panto and the humour just kept on coming this evening. The young lady next to me laughed at every joke and they were on form. I particularly enjoyed Gary Avis trying on the glass slipper this evening - despite having seen 3 other live performances (with different sisters), this had me laughing out loud. I also don’t recall the ‘silly’ sister (Acri) rolling down the stairs into the ball- I guess there’s something new to notice every time.

 

I really enjoyed watching Natalia Osipova. Until I saw reviews here from her first performance I was wondering if I had chosen the right cast, having done so specifically to see Gary Avis. I am so glad I saw her dance. I previously haven’t enjoyed her turns at Ashton ballets except for Month in the Country, but Cinderella absolutely suited her. Her performance in act 1 was thoroughly convincing (she looks like a lady who knows how to clean, giving it some welly and even moving items on the table to do a thorough job). As above, she is the only dancer who truly danced WITH the broom as a convincing partner. The energy in her port de bras and broader body movements gave her solos real feeling. In act 2 as Cinderella she managed to convey all her emotions on arriving at the hall- wonder and excitement - with her eyes alone. She brought a huge amount of energy to her solo and her manège was rather breathtaking. In act 3 again as she dreams of the ball (or wonders if it was all a dream). Her energy really makes the audience feel what she is feeling. 
 

Reece Clarke was a swoonsome suitor and individually did not disappoint, but the chemistry between characters really did lie with the stepsisters tonight. I was also thrilled to get to see Magri again as fairy godmother (my favourite, particularly her forward bend and sweeping port de bras as she opens her solo). Also my first opportunity to see a regular favourite, Joseph Sissens on stage!

 

Marco Masciari was another fabulous jester and really loved his interpretation. So happy to have this role which allows more junior talent to shine so brightly. I assume that this role is traditionally given to younger dancers. 
 

As this is my last Cinderella (sob), I’m mentally drawing up my own awards for best in role across various roles, of which some (chemistry moment on Cinders arriving at the ball) are easy to award, some not so easy (jester). What I do know is that this Ashton ballet was most definitely cracked by Osipova this evening and I think that Ashton is probably pirouetting or leaping with joy in ballet heaven. I learnt what @Nogoat stands for this evening and right now, couldn’t agree more!

 

Lovely to see @Sim, meet @Bluebird @PeterS and of course the podcaster who gets me through my commute, @To The Pointe

[bridiem]

I really enjoyed Osipova's Cinderella too. As others have said, she's very dramatically credible and you really believe in her as a downtrodden person who nevertheless dreams. And when she arrives at the ball, she is very clearly under a spell until she reaches the front of the stage and 'wakes up' and sees her prince, which is very effective. And every now and then she just grins at the prince as if she can't quite believe her luck. Reece Clarke looked wonderful and danced strongly but apart from smiling nicely didn't convey much else (but Cinderella seemed more than satisfied, so who am I to complain?!). But although I thought Osipova was excellent, she's not my ideal Cinderella; all the others I've seen have been fairy tale characters, albeit believable to greater or lesser extents, whereas Osipova is a real person who happens to be in a fairy tale. Given the nature of this ballet (choreography, music, sets, costumes, lighting) I prefer the more magical, less realistic interpretations.

 

I love Act II more and more every time I see it! Ashton meets Busby Berkeley meets Hollywood meets Ballet in England in 1948. Just wild. 

[Rob S]

 

 

 

 

 

 

 

[Josette]

I'm flying in from L.A. and will see the three weekend shows and am so excited for the weekend, having seen all these wonderful comments and photos!   

 

[capybara]

10 hours ago, Ondine said:

Such a pity. I thought she danced it splendidly, fast, furious yet controlled (as seen in the Insights clip I posted above).  It's fiendish, really. As you say, some get many 'goes' though I suppose they are more senior so...

 

It's only by actually doing it you learn and progress though?

But covering a role is a first step and a promising one. Just like the Principals, the Soloists and First Artists have to be given opportunities to perform.

It’s a conundrum when there is an embarrassment of riches.

[capybara]

50 minutes ago, capybara said:

But covering a role is a first step and a promising one. Just like the Principals, the Soloists and First Artists have to be given opportunities to perform.

It’s a conundrum when there is an embarrassment of riches.

Apologies for quoting myself but I should have said that being chosen for an Insight appearance is quite something in itself.

The lovely Amelia and other Artists before her have become known to, and appreciated by, the regular audience because they have been seen at some length ‘in close up’ in the Clore Studio.

Then there is the YouTube coverage which reaches a wider clientele.

[Lizbie1]

19 minutes ago, capybara said:

Apologies for quoting myself but I should have said that being chosen for an Insight appearance is quite something in itself.

The lovely Amelia and other Artists before her have become known to, and appreciated by, the regular audience because they have been seen at some length ‘in close up’ in the Clore Studio.

Then there is the YouTube coverage which reaches a wider clientele.

 

Yes completely agree!

 

On the Opera side too you often get demonstrations by Jette Parker artists and occasionally someone really stands out: I remember seeing one for Cosi fan tutte and thinking "Who is that?" - it was Jennifer Davis, who became something of a sensation when she jumped into the high-profile new Lohengrin.

[Ondine]

Of course. But I bet she'd love to get that costume on and do it on stage!  I thought she was so good in rehearsal.

 

It's a fiendish piece, off centre turns and the rest, she rocked it!

 

And yes the company has so many talented people it's difficult to give everyone a chance to shine in a balanced repertoire.  No-one wants to spend too much of their early careers spear carrying, the men don't even get the opportunities to be swans or snowflakes or wilis!

[alison]

6 hours ago, Josette said:

I'm flying in from L.A. and will see the three weekend shows and am so excited for the weekend, having seen all these wonderful comments and photos!   

 

Do try and arrange a meet-up while you're here - it sounds as though we may have a few people from far-flung parts!

[Sim]

I really enjoyed Miss Osipova’s interpretation of Cinderella.  As Bridiem said, this was not an ethereal, fairy tale creature, but an earthy, real human being, who made us all feel her sadness, her suffering and her inner workings.  I liked this contrast to the other Cinderellas I’ve seen, and in a way it makes the magic much more effective:  here is a real girl affected by unreal things.  She had so many aspects to her interpretation that moved me; for example, when she blows a kiss to her mother’s portrait she then puts her hand to her cheek, closes her eyes and smiles.  It’s as if her mother has kissed her back, and she is implanting the kiss so it remains there forever.  Or, she is remembering the touch of her mother’s kiss on her cheek, a source of comfort amidst her sadness.  I loved how when she discovered the shoe in her dress, she puts it on her lap and then puts both arms behind her and stares at it for a few seconds, not daring to touch this item that she knows will change her life.  Is it real? Am I dreaming?  There was so much characterisation that I could go on and on…but you will be glad to know I won’t!

 

As ever with this dancer, she did things her own way, and I must say I was a bit dubious about how she would dance Ashton’s steps having not liked her Lise a few years ago.  Doubts wiped aside, she gave a lovely technical display of fleet footwork and solid jumps.  Her maneges were swift and assured, and she got huge applause after her two tours around the stage. 

 

Reece Clarke made a solid partner, and dancing together so regularly they are clearly comfortable with each other.  I think it is very hard to make anything of this role; at least in SB, SL and Giselle the male lead has a back story that helps to make sense of who he falls in love with.  Here, he is really just a support for the lady.  Clarke is the epitome of the handsome prince, and I could totally relate to the look of joy on Cinderella’s face when she snaps out of her daze and sees him standing before her.  She must have thought she was still dreaming!

 

I loved Marco Masciari’s Jester.  For the first time, I really understood what the role is about, and he also made very clear that he was getting instructions from his magic wand (something I haven’t noticed previously).  He was almost like an MC, directing proceedings and moving events on.  His dancing was superb.  This young man has a great future ahead of him.

 

Mayara Magri keeps getting better and better as the Fairy Godmother.  She has such a winning smile, and looks genuinely delighted with the outcome of the story.  Her dancing is beautiful here, and I really hope that she gets a crack at the lead role in the next run.

 

I enjoyed Gary and Luca much more last night.  There was so much improvisation and it was spontaneous and funny.  To answer a question above, Luca always trips over the bottom step, but last night added the roll which I haven’t seen him do before.  It worked and made me giggle.  The wig behaved and got a huge laugh when Luca was stomping on it.  I so admire Lukas BB managing to maintain a straight face with those two pawing at him with hands and feathered fans, making funny faces, etc. 

 

The orchestra sounded lush and lovely, and between Jonathan Lo and Koen Kessels conducting them, I can now say that I am a convert and really like the music.  Nowhere near as much as R&J, but I now look forward to hearing it, instead of it being something for me to get through.

 

To sum up, a very enjoyable evening, made by a great cast all round but especially by the ever-watchable Natalia Osipova, who can do earthy and ethereal (Giselle’s ghost) in equal measure. 

[Nogoat]

Surprisingly, last night's Cinderella never quite caught fire for me in the way it did on Osipova's debut last Friday.

Don't get me wrong - it was great, though the grate didn't blaze quite as bright as before...

 

The absence of that intense sense of anticipation I'd felt on her debut could have been responsible, but I don't think it was just me. A couple of stand-out reactions on Friday (the audience applauding her departure in the coach at the end of Act 1, and their collective roar at the end of her Act 2 solo) were not there last night. 

As to why - well, more than most dancers I see, there's a symbiotic relationship between Osipova and the audience. If the audience feeds off her, then she feeds off the audience and the fire can ignite and burn ever brighter (perhaps the best example of this was her Swan Lake just after the invasion of Ukraine. Her crisis of confidence was met with such a positive response from the audience that her performance, in turn, was lifted higher). Which, of course, begs the 'chicken and egg' question:- what triggers what?

 

I also don't think the weather helped. Our drive to London turned into a near 3 hour slog through near monsoon conditions in places (a cold monsoon at that!) and London was little better when we got there. And it's hard to catch fire when you're damp.

 

I hesitate to use the word, but if last night proved a bit disappointing to me in comparison to Friday, it did put into perspective just how special her debut performance (and the audience's experience of it/reaction to it) actually was.

 

And there are a few points to note about that comparison...

 

- there are few professions that demand as high a level of coordinated motor skills as ballet, so it always surprises me when otherwise superhuman dancers have problems with everyday tasks. On Friday, Osipova had problems knotting the 'scarf' around the broom and eventually gave up and threw it in the grate. Last night was fine. She has previous form:- for example, she had all sorts of problems with her bow and arrow in her debut in Sylvia. I find it all quite endearing: she is a superhuman human - not, as she has said herself, a robot.

 

- Like others, I found last night's vignette with the broom was beautifully acted - she evoked a conversation with, and breathed life into, that inanimate object with real clarity.

 

- I noticed it in both performances, but Osipova's state of mind at the start of Act 3 seemed somewhat different to other interpretations I've seen. I always thought Cinders wakes up as if from a dream, then re-enacts some of that dream only to be astonished to find it was real when she discovers the slipper in her dress pocket. However, on both occasions, Osipova's reaction to the slipper was more one of confirmation rather than sudden realisation. It worked in its own right, but it was different (which, I guess, is typical Osipova).

 

- on Friday there was the odd mis-step in Act 2 (walking up to the 'mezzanine' level of the stairs, she went to take another step up; there was a slight clash of legs at the end of a turn; Reece caught her foot slightly when they took their bows at the end of the solo; she seemed to get her arm wrong when holding the page with the oranges). Last night I noticed nothing amiss.

These are all minor points really and, like @JohnS, are included for completeness more than anything else - and I still regard Friday's performance as the better of the two!

 

- on Friday, Osipova's facial expressions during her entrance to the front of the stage in Act 2 painted a bright, detailed, moving picture of her thoughts; they were there again last night, but I got the impression they were fewer both in range and clarity. It was a bit like listening to a radio station that isn't quite tuned in; mind you, we were in the upper reaches of the amphi and 'reception' there, even with binoculars, may well have suffered.

 

- on both nights, the presence of Osipova/Cinderella and Magri/Fairy Godmother on stage at the same time was something to savour - they are both simply wonderful.

Magri's Fairy Godmother is increasingly substantial and powerful - her benevolence is more that of an interventionist god than a kind spirit.

 

- in much the same way as I learned to tolerate and normalise the annoying habits of my real sisters, so I'm learning to accept and even enjoy Avis's and Acri's step-sisters.

The look on Acri's face after Avis smeared his/her lipstick was pure Stan Laurel - petty, puerile behaviour by Avis, and simply hilarious.

And there is a lovely 'story' developing in the curtain calls. On Friday, when Jonathan Lo came on stage to take a bow, Avis' step-sister beckoned to join him in the line, then seemed to ask him about someone in the orchestra, presumably someone the step-sister fancied. Last night he again beckoned to Lo to join him, but Lo played along and, as if 'once bitten, twice shy', instead made a bee-line to Acri, with Acri's step-sister then making faces at Avis to indicate she'd got one up on her sister.

Avis also received a bouquet and tried to snog the usher (behind a fan) when it was presented. Even the Jester got into the act, maintaining his outsider's disdain by refusing at one point to hold Acri's hand during the curtain calls. This was all in addition to the usual antics that happen in the individual curtain calls.

 

- all these curtain call antics are perfectly appropriate as it's a pretty lightweight ballet - yet it still has the power to move.

On Friday it was the Act 2 entrance of Cinderella that got to me; it's a wonderful piece of theatre in which the atmosphere inexorably builds through the music, the entrance of the stars and fairies, and the gradually changing lighting - at some point triggering a flood of emotion.

Last night it was the final few minutes of Act 3. Again, it's the mixture of the music and the sheer beauty of the staging and the dancers upon it. The combination works its magic to make manifest a vision of an ideal, a perfection - but some of its emotion clout comes from the realisation that, in our imperfect real life, such perfection will always be out of reach.

 

In Cinderella, the reappearance of the Fairy Godmother and the exit of the Jester augurs her journey from the chaos and imperfection of her real life to the order and perfection of - what? Is it the after-life?

It may be a simple fairy-tale, but last night I found that ending to be quite profound.

 

[Nogoat]

13 hours ago, Blossom said:

I learnt what @Nogoat stands for this evening and right now, couldn’t agree more!

 

Never Offer Girls Oranges Afore Twelve? 🙄

[Blossom]

4 minutes ago, Nogoat said:

 

Never Offer Girls Oranges Afore Twelve? 🙄

works nicely for Cinderella!!

[bangorballetboy]

On 23/04/2023 at 21:55, Silke H said:

I think there have been 2 fewer party couples in last week's performances, I have been missing Julia Roscoe in her lovely cream-coloured dress as one of the "lead" couples.  However, Julia was in good form in class on stage on Friday morning so I presume she isn't injured and those 2 party couples have been dropped to make space on stage?

Has anyone else noticed?  Am I imagining things?

 

All the shows I have seen have had 6 "dancing" couples, which is correct for the choreography.

[alison]

Thanks.  I wasn't sure whether I was imagining something.  (Or perhaps I was)

[Josette]

I am assuming and hoping to see Marco Masciari as the Jester this Friday, as he stood out as an exceptional  talent in The Dante Project back in October of 2021 and in the recent Woolf Works.   

[art_enthusiast]

Akane absolutely sparkles in this role, it seems so well suited to her. So majestic yet pure. Just brilliant.

 

I thought she and Nicol Edmonds worked very well together. Itziar’s Fairy Godmother was sublime.

[Richard LH]

Akane absolutely electric... wonderful to see😊!

[LinMM]

Yes just got in ….she was really lovely tonight with some nice little touches very soft but very strong. 
Some people around me were oo-ing and ah-ing quite a bit especially in Act 3 so were definitely enjoying it!! 
I felt quite bereft at the end as this was my last viewing but Akane has inspired me to book for her Sleeping Beauty in May. Need a cup of tea now but I’ve really loved this Cinderella and hope it’s back around Xmas 2024! 

[Rob S]

 

 

 

 

 

[alison]

And there I was thinking Rob wasn't there tonight ...

[Richard LH]

10 hours ago, art_enthusiast said:

Akane absolutely sparkles in this role, it seems so well suited to her.

I wonder if her creating the role in Kobborg's acclaimed NBA Japan version in 2021 helped her with some of the characterisation and familiarity with the music and some of the Ashton choreography - although of course the  storyline and staging is entirely different.

https://www.kobborg.uk/cinderella

https://www.youtube.com/watch?v=xFbeI6pjguc&t=3s

One thing I particularly like about Kobborg's version is that Cinders gets to dance with the Stars to that wonderful music....

[Emeralds]

On 24/04/2023 at 21:54, emmarose said:

 

I understand the asymmetry, the moments I noted were not part of that. 

I was there on the 5th and would agree they looked great, it was just on the cinema screening and seeing the same one again I noticed a few parts that could have been much tighter.

Oh dear -sounds like it was a slight blip on those occasions (but at least you got to see a “clean” one, as they say, on the 5th). Maybe there were last minute substitutions which led to the different result. Glad you saw the 5th though! 👍

[Beryl H]

I have always loved Akane Takada's mix of strong technique and lovely delicacy, thought she was the perfect Cinderella last night, the first I've seen and hopefully not the last. There was some wonderful dancing too from the Season Fairies and Itziar Mendizabal's Fairy Godmother, also David Yudes' Jester.

 

I'm afraid I wasn't so keen on some of the costumes and scenery, Cinderella's house was atmospheric and I liked the lighting and appearance of the Fairy Godmother, but the Sister's costumes were too garish for me. Cinderella's entrance down the stairs looked odd without the ballroom, but beautifully done by Takada and Edmonds, those golden frond things on the sides looked tacky to me, I did think of one reviewer's Disney World description 🙂.

 

I had to leave before the third Act, great to see Cinderella again for the music, choreography and dancing!

 

Edited April 26, 2023 by Beryl H
appearance

[Shade]

I have spent much of this evening reading this whole thread, in preparation for my visit on Friday evening. I have pushed the boat out and bought a ticket for the Grand Tier, only the second time ever!

As ever it has been very instructive reading all the comments. I have only seen the RB Cinderella once before, I think in 2010, so don’t recall it clearly.   Leads were Cuthbertson and Bonelli and the orchestra stalls ticket cost £98. I very much enjoyed that performance and hope I will enjoy this one too, even though different.

 

thanks Rob for all the great photos.

Edited April 26, 2023 by Shade
Add text correction

[Sim]

2 hours ago, Shade said:

I have spent much of this evening reading this whole thread, in preparation for my visit on Friday evening. I have pushed the boat out and bought a ticket for the Grand Tier, only the second time ever!

As ever it has been very instructive reading all the comments. I have only seen the RB Cinderella once before, I think in 2010, so don’t recall it clearly.   Leads were Cuthbertson and Bonelli and the orchestra stalls ticket cost £98. I very much enjoyed that performance and hope I will enjoy this one too, even though different.

 

thanks Rob for all the great photos.

I hope you enjoy it, Shade…do let us know!

[Jamesrhblack]

Flying back from work in Vienna to see Laura Morera as Cinderella. A year ago I was flying back from New York to see her as Natalia Petrovna. She is a dancer who has really grown on me and I will miss her on stage very much. Like Shade, I have treated myself to Grand Tier this evening.

[Shade]

Wow James I hope you have a fabulous evening 

[Sim]

4 hours ago, Jamesrhblack said:

Flying back from work in Vienna to see Laura Morera as Cinderella. A year ago I was flying back from New York to see her as Natalia Petrovna. She is a dancer who has really grown on me and I will miss her on stage very much. Like Shade, I have treated myself to Grand Tier this evening.

Laura never had to grow on me; I've loved her from the start!  I am just so sad that the inevitable is happening.  Enjoy tonight, James, especially from the posh seat!   I will be there too (standing!) and am really looking forward to seeing Laura dance this role.  

[Ondine]

Interesting review. I enjoyed the new production of this ballet while watching it, there is much 'magic' to enjoy,  but certain parts of what Paul Arrowsmith has to say chimed with my own thoughts, especially the stepsisters.

 

These sisters were cheapskate runway challengers from RuPaul's Drag Race.

 

https://www.gramilano.com/2023/04/review-royal-ballet-cinderella-2/?fbclid=IwAR1Ym2pV0BowleOVMh4wZCioMHd6ks4-C35K0sFcjZhrOwzhfVaEOYWgH3Q

 

Good to see the 'oompah trot' gets a special mention. He's been reading this forum hasn't he? 😉

 

[Jan McNulty]

16 minutes ago, Ondine said:

Interesting review. I enjoyed the new production of this ballet while watching it, there is much 'magic' to enjoy,  but certain parts of what Paul Arrowsmith has to say chimed with my own thoughts, especially the stepsisters.

 

These sisters were cheapskate runway challengers from RuPaul's Drag Race.

 

https://www.gramilano.com/2023/04/review-royal-ballet-cinderella-2/?fbclid=IwAR1Ym2pV0BowleOVMh4wZCioMHd6ks4-C35K0sFcjZhrOwzhfVaEOYWgH3Q

 

Good to see the 'oompah trot' gets a special mention. He's been reading this forum hasn't he? 😉

 

 

Which was reported in Today's Links today.  It is always worth perusing the Links forum because it covers the wide world of dance:

 

 

[Ondine]

Though the links isn't really the place to discuss is it?

 

 

 

 

[Jan McNulty]

15 minutes ago, Ondine said:

Though the links isn't really the place to discuss is it?

 

 

 

 

 

But you can refer to and share links as part of the discussion as I did above.

 

The Links forum, on which Ian and I spend a considerable amount of our time, is restricted access.