Royal Ballet Cinderella March/April 2023

[EVWS]

5 minutes ago, capybara said:

How completely typical that is. Especially when he hasn't seen her dance Cinderella, it borders on unkindness to other RB dancers.

He needs to go to Specsavers !!!!!

And if, as appears to be the case recently, he only books for Hayward's shows, how does her know????

 

[Of course, I mean no offence to Francesca, who is a lovely dancer - but really........!!!!!]

 

I have to say that I agree with all of the above!! 

[Tango Dancer]

22 minutes ago, Sim said:

Well according to Mark Monahan in the Telegraph review it seems that the only person on Earth who can dance Ashton (or indeed anything else, judging from his past mentions) is Francesca Hayward....

 

Oh dear, that's very biased.  I mean we all have our favourites. I book for the dancers I like best as well because I can usually only afford one showing of each ballet (usually I check which days Vadim is performing and book one of those) but that doesn't mean the others aren't as good.  

[Fonty]

 I can never read the Telegraph reviews,  I refuse to pay for a subscription.  Could someone give a break down of the points he made?  Very occasionally I do actually agree with him on certain issues.

[Richard LH]

Well the good reviews and general excitement have just been adding to my feeling of live ballet drought....so I am afraid the last two tickets for Nunez/Muntagirov on 5th April just had to be snapped up!

[AnneL]

I enjoyed Cinderella very much. I do love the music, particularly as - for me - it contains many memorable tunes, which have been buzzing round my head all day, but also some little moments which still surprise me. Good dance music should be memorable, yet there are many scores which lack that factor (not Tchaikovsky obviously). 
I also love most of the choreography. To be honest, I don’t go to a ballet like this to have the story of a fairytale told, I think we all know it. So I am not concerned about the absent step-mother etc etc. For me, it’s really a vehicle for the dancing, which was - to my non-technical eye - superb last night. It’s not a character driven story, although the warmth and happiness of true love was expressed at the end. In short, I don’t think it requires Shakespearean levels of dramatic art. 

Similarly, there are reasons in this ballet’s creation for the seemingly large amount of stage time for the stepsisters - the original cast of the choreographer himself and Helpmann. I am fortunate enough to have seen them - and Alexander Grant as the jester - in the roles they created and the memory is indelible. They are a hard act to follow, and it’s no criticism of Avis and Acri to say that in the hands of the original cast, their stage time was not a minute too long. So it is what it is, and the company has to be faithful to the choreographic text, although there could be good reasons for amendments it would be controversial to change it.

In general, I liked the new costumes and sets, the lighting effects were fun. My only small criticism would be that the sisters’ dresses were so flouncy that they disguised some of the clever footwork of their characters. But I was sitting in the amphitheatre so May have missed some of it for that reason.

I am looking forward to seeing two more casts, including the Hayward one. 

[bridiem]

17 minutes ago, Fonty said:

 I can never read the Telegraph reviews,  I refuse to pay for a subscription.  Could someone give a break down of the points he made?  Very occasionally I do actually agree with him on certain issues.

 

Briefly, he thinks this a better production than the previous one but much of the dancing not sufficiently Ashtonian and he couldn't warm to Nunez; he effectively laments that Hayward didn't do the opening night since she's such a brilliant Ashton dancer. I agree that she is, but that doesn't mean it wasn't a stellar performance from Nunez last night.

[Guest oncnp]

And the FT review states Nunez is " dream casting" for the role.

 

And gave the production 5*

Edited March 28, 2023 by oncnp

[JNC]

Casting is so subjective! Even if that’s his opinion (which he is more than entitled to) to present that as near fact in an “official” review is just unnecessary and a bit mean spirited, particularly if Marianela was celebrating her 25 years with Roh that evening as well. 

[Jan McNulty]

Sorry folks but even though I am registered for 2 free articles a month from the Telegraph I can no longer access them so won't be including the link tomorrow!

 

None of my usual devious methods work.

[bridiem]

7 minutes ago, Jan McNulty said:

Sorry folks but even though I am registered for 2 free articles a month from the Telegraph I can no longer access them so won't be including the link tomorrow!

 

None of my usual devious methods work.

 

I hope it's OK then if I post the link here? https://www.telegraph.co.uk/dance/what-to-see/cinderella-royal-ballet-review-enchanting-exasperating-trip/ (Please remove if not!).

[Blossom]

7 minutes ago, Jan McNulty said:

Sorry folks but even though I am registered for 2 free articles a month from the Telegraph I can no longer access them so won't be including the link tomorrow!

 

None of my usual devious methods work.

https://www.telegraph.co.uk/dance/what-to-see/cinderella-royal-ballet-review-enchanting-exasperating-trip/

[MJW]

Some more Flickr pics (the costumes aren't nearly as garish on stage as they appear in some of the pics!)

 

https://www.flickr.com/photos/royaloperahouse/albums/72177720307081859

[James]

3 hours ago, emmarose said:

 

I was wondering this myself from the cast sheets and photos, to have Cinderella dressed in rags and serving the all while they all go off to balls makes it even crueller in a way.

I think the absence of a stepmother from Ashton’s Cinderella may be partly explained by the fact that, despite her inclusion in the original Russian scenario, 1948 British audiences would not have expected to see one. Most theatregoers’ experience of Cinderella on stage would have come from either, at one end of the theatrical scale, the Rossini opera La Cenerentola or, at the other, the traditional British pantomime version of the story, neither of which features a wicked stepmother. This was two years before Walt Disney released his animated version in which the cruel stepmother was a prominent character.

 

The progenitor of the traditional British pantomime version (which Ashton claimed never to have seen) was the 1860 “fairy burlesque extravaganza, Cinderella or The Lover, The Lackey and The Little Glass Slipper” by H. J. Byron, which borrowed heavily from the Rossini opera, including the names of the step-sisters and the business of the Prince and his valet Dandini swapping roles. Byron, incidentally, also introduced the role of Cinderella’s father’s page, Buttons.

[Balletfanp]

Thanks, but the Telegraph link still doesn’t work….

Edited March 28, 2023 by Balletfanp

[Guest oncnp]

1 minute ago, Balletfanp said:

Thanks, but it still doesn’t work….

The problem is not the link but the pay wall. 

If you copy the link and search it, that may work

[Guest]

11 minutes ago, James said:

I think the absence of a stepmother from Ashton’s Cinderella may be partly explained by the fact that, despite her inclusion in the original Russian scenario, 1948 British audiences would not have expected to see one. Most theatregoers’ experience of Cinderella on stage would have come from either, at one end of the theatrical scale, the Rossini opera La Cenerentola or, at the other, the traditional British pantomime version of the story, neither of which features a wicked stepmother. This was two years before Walt Disney released his animated version in which the cruel stepmother was a prominent character.

 

The progenitor of the traditional British pantomime version (which Ashton claimed never to have seen) was the 1860 “fairy burlesque extravaganza, Cinderella or The Lover, The Lackey and The Little Glass Slipper” by H. J. Byron, which borrowed heavily from the Rossini opera, including the names of the step-sisters and the business of the Prince and his valet Dandini swapping roles. Byron, incidentally, also introduced the role of Cinderella’s father’s page, Buttons.

Thank you for giving me some insightful historical context

[JNC]

I will reserve full judgment until I actually see it on stage but from the photos I agree with some comments about the fact the costumes appear a bit garish/Disney - ballet for the cgi/frozen era (not in a good way). 
 

I adore the old world pastel charm of Messell’s beauty designs, other designs/costumes I like are probably Coppelia, Sylvia, La Bayadere (a bit OTT but I like it and still classical), Manon, and the new Swan Lake for a more modern style. 
 

I don’t understand the hair for the fairies and the bright colours seem too much, and I wonder if the longer dresses (rather than tutus) affects how the season fairies/godmother choreography can be appreciated in act 1 (have they always worn tutus or dresses for this?) 

 

I think ROH has in their shop some backstage photos of the fairies back in the 50s and I appreciate things must sometimes innovate to give new artists a chance but I’d have loved a more “traditional” design and costumes. 
 

The sets look quite good - particularly the finale one and the act 1 house but I remain a bit sceptical of the lighting effects, it’s good to hear they seem to be well received so I’ll also keep open minded about them! 

[Sim]

We don't usually allow such long quotes on the forum, but as many people won't be able to access the review I have taken an executive decision and posted it here.  This is from Mark Monahan in the Telegraph (his/their copyright); he gave it three stars:

 

Frederick Ashton’s Cinderella (1948) was the first full-evening ballet ever to come out of Britain, and as such has always had a special place in the Royal Ballet’s history. The company’s last production, however, was an ugly beast, deservedly “retired” back in 2011 – but in these situations there is (as the company’s current Swan Lake attests) no guarantee that the replacement will be a step up. As an audience member, you can all too easily find yourself out of what, in hindsight, was a relatively well-appointed frying-pan and face-down in an even less rewarding fire.

 

Well, the company’s new Cinderella is, at least, a definite improvement on its predecessor. A curmudgeon might argue that Tom Pye’s elaborate, you-can-see-where-the-money-went sets are more Matthew Bourne/Lez Brotherston than Covent Garden. And Alexandra Byrne’s costumes are, let’s say, decidedly variable. But, expertly lit by David Finn (who also did BRB’s visually resplendent David Bintley/John Macfarlane production, in 2010) and combined with Finn Ross’s elaborate projections and the odd conjuring flourish from illusionist Chris Fisher, the visuals undoubtedly deliver something that was sorely lacking from the staging’s predecessor: magic. 

 

That is certainly for the good. And nor, by the way, was there any shortage of sorcery coming from the pit on Monday's big first night, with the house orchestra under Koen Kessels letting both the magnificent lushness and spiky energy of Prokofiev’s score ring out. 

 

But was there the same degree of enchantment coming from the performances? That, sadly, is more debatable. Of the four crucial Act I fairies – each of their solos a little grenade of choreographic inventiveness – only the terrific Anna Rose O’Sullivan, as “Spring”, seemed genuinely determined to make hers fly, but even she, like almost everyone on stage, fell short on Ashtonian upper-body pliancy and physical, épaulment-driven “presentation”. (Overall, this quartet reminded me of the comparable and similarly disappointing quintet of fairies in the Royal Ballet’s Sleeping Beauty back in January.) 

 

Better were Fumi Kaneko’s serene maitresse d’ of a Fairy Godmother and (in another debut) Taisuke Nakao’s kinetic Jester. Returning as the more strident of the conspicuously old-school men-in-drag Step-Sisters, Gary Avis was an absolute hoot in a way that – as so often with a ballet that has always been a precarious balance of tragedy, romance and knockabout comedy – threatened to topple the whole thing. Luca Acri, as the more browbeaten of the two, was more anonymous, wringing little pathos from the role. 

 

As the Prince, Vadim Muntagirov gave what, by even his standards, was a heady display of classical virtuosity – not much grit in this wife-seeking royal’s oyster, but an undeniably beautiful debut for all that. However, it was tricky to warm much to Marianela Nuñez’s Cinderella. I couldn’t detect much wretchedness or sense of genuine yearning from her punctilious but steely footwork in Act I, and her (undoubtedly impressive) stage-crossing fouettés in the Act II pas de deux felt more show-offy than an expression of ecstatic, once-in-a-lifetime romantic bliss. 

 

It was also Nuñez who was given the “final” opening night back in April 2011 – not much sense there of a company in forward-motion, downright perversely so when the world’s straight-sets greatest active Ashtonian, Francesca Hayward, is now on board. Still, she tackles the role this Thursday, along with the always-interesting Alexander Campbell. I welcome this often dazzling new production; with luck, these two can help do the ballet’s genius of a creator full justice. 

[alison]

I did - eventually - manage to access the text of the Telegraph review, but you do need to be quick, and the technique doesn't always work, even then.  Plus I can't see it working on a phone - you'd need a computer, I think.

[Sim]

53 minutes ago, AnneL said:

I enjoyed Cinderella very much. I do love the music, particularly as - for me - it contains many memorable tunes, which have been buzzing round my head all day, but also some little moments which still surprise me. Good dance music should be memorable, yet there are many scores which lack that factor (not Tchaikovsky obviously). 
I also love most of the choreography. To be honest, I don’t go to a ballet like this to have the story of a fairytale told, I think we all know it. So I am not concerned about the absent step-mother etc etc. For me, it’s really a vehicle for the dancing, which was - to my non-technical eye - superb last night. It’s not a character driven story, although the warmth and happiness of true love was expressed at the end. In short, I don’t think it requires Shakespearean levels of dramatic art. 

Similarly, there are reasons in this ballet’s creation for the seemingly large amount of stage time for the stepsisters - the original cast of the choreographer himself and Helpmann. I am fortunate enough to have seen them - and Alexander Grant as the jester - in the roles they created and the memory is indelible. They are a hard act to follow, and it’s no criticism of Avis and Acri to say that in the hands of the original cast, their stage time was not a minute too long. So it is what it is, and the company has to be faithful to the choreographic text, although there could be good reasons for amendments it would be controversial to change it.

In general, I liked the new costumes and sets, the lighting effects were fun. My only small criticism would be that the sisters’ dresses were so flouncy that they disguised some of the clever footwork of their characters. But I was sitting in the amphitheatre so May have missed some of it for that reason.

I am looking forward to seeing two more casts, including the Hayward one. 

I don't expect 'Shakespearean levels of dramatic art' either.  What I do appreciate is when a basic story is told clearly.  And I don't think a choreographer or dramaturg should ever make a ballet assuming that everyone knows the story; it can lead to muddles.  Most of us do know the fairy tales, but there are always some who don't (and in this day and age when more and more children's literature is being cancelled or doctored there may well be children who don't know the original story in a few years' time).  And even if we do, it should still be told clearly.  However, in this case, perhaps the story and its darker side (abuse, wicked stepmother) were glossed over for a post-war audience that had had enough darkness.  

[Dawnstar]

2 hours ago, MJW said:

Link to tonight‘s cast sheet 

 

https://www.roh.org.uk/tickets-and-events/40/cinderella-by-frederick-ashton/cast-list/51593

 

 

I see that the running time has been amended compared to the dress rehearsal & first night cast sheets so it's now 2h55 in total. I'll be doing some rather rapid post-show dashes for trains next month then. And are the new sets so complex that two 30 minute intervals are needed to change them? Seeing a 30 minute interval followed by an only 25 minute Act III makes my heart sink a bit. It's a lot of hanging around when you're attending alone - especially as I'll be doing so 6 times over!

[Sim]

1 minute ago, Dawnstar said:

 

I see that the running time has been amended compared to the dress rehearsal & first night cast sheets so it's now 2h55 in total. I'll be doing some rather rapid post-show dashes for trains next month then. And are the new sets so complex that two 30 minute intervals are needed to change them? Seeing a 30 minute interval followed by an only 25 minute Act III makes my heart sink a bit. It's a lot of hanging around when you're attending alone - especially as I'll be doing so 6 times over!

Dawnstar if you let us know dates you are attending I am sure many of us would be delighted to meet you in the intervals if we are there at the same time.

[Mary]

It is absurd for Monahan to be reviewing a performance he has never seen by a performer who has never danced the role !

Equally, for anyone  to criticise the production before actually seeing it is a bit pointless.

 

I want to let my first viewing settle in my mind, and see it again, before saying more and I hope to read many interesting opinions on here from others  - who have seen the production.

 

Meanwhile, I think I shall respond to him by criticising his review without actually reading it.

 

 

[Guest]

2 minutes ago, JNC said:

 

I don’t understand the hair for the fairies and the bright colours seem too much, and I wonder if the longer dresses (rather than tutus) affects how the season fairies/godmother choreography can be appreciated in act 1 (have they always worn tutus or dresses for this?) 

 

 

You are right, the bright colours and the hair were too much , really distracting for us and it looked like it was distracting for at least two of the fairies, or maybe they, like us, were distracted by the lights/film or whatever it was.

 

Regarding longer dresses vs tutus, the season fairies have always worn tutus for the ballroom. In the first act variations, the costumes have changed over the years. In the 60s Henry Bardon (sets)/David Walker (costumes) production the godmother, spring, summer and autumn all wore long dresses, but winter wore a short tutu. After each variation, godmother and seasons left the stage (cue costume change to short tutu) and dance the finale of act one betutued (I may have just made that word up, but the rest is all true.) They didn't change their tutus to go to the ball.

 

In the 1987 version designed entirely by David Walker, all act one fairies were in long dresses (but the difference being with today's production , the long dresses were beautiful and sympathetic to the choreography.) They changed into tutus for Act 2.

 

I don't particularly wish to remember the 2004 production costumes - I think it was again long dresses act 1 and tutus for act 2.

 

What we have today for the fairies and their pages in Act 1 is totally over designed and I hope the dancers cut bits off their costumes and flatten their hair!

[JNC]

@Darlex indeed I definitely get a strong “panto” or “theatre” feeling from the photos rather than ballet/dance. 
 

I think Ashton apparently disliked pantos (?) which is interesting as the two sisters appear to be pretty influenced by panto, to me at least. 

[Sim]

27 minutes ago, Mary said:

Meanwhile, I think I shall respond to him by criticising his review without actually reading it.

 

 

That made me laugh out loud, Mary!!  😂

[MJW]

30 minutes ago, Dawnstar said:

 

I see that the running time has been amended compared to the dress rehearsal & first night cast sheets so it's now 2h55 in total. I'll be doing some rather rapid post-show dashes for trains next month then. And are the new sets so complex that two 30 minute intervals are needed to change them? Seeing a 30 minute interval followed by an only 25 minute Act III makes my heart sink a bit. It's a lot of hanging around when you're attending alone - especially as I'll be doing so 6 times over!

 

The lengthy intervals do annoy me - I appreciate time is required for set changes etc etc plus of course for the audience to do whatever but two half an hour intervals is a bit too much; perhaps 20 and 25 mins - its not that much shorter but can make all the difference for those travelling further home in the evening. Either that or start earlier!

 

The General overran by ten minutes so finished about 22:25. I knew I wouldn't be able to get to Waterloo for the 22:30 even if it had finished on time. Unfortunately SWR cancelled the fast 23:00 and I had to get the slow stopping train. I'm afraid that rather ruined the evening! 

[Fonty]

I can't actually see anything wrong with Monahan's review.  It wasn't as bad as some he has written.  He may not have seen Hayward in Cinderella, but he has seen her in other Ashton roles, and therefore can give an informed opinion about her credentials. Obviously I didn't see Nunez last night, but having seen her many times  I always find her technically superb, but I often don't feel an emotional connection with her.  Given the choice I simply prefer other dancers, and clearly Mr Monahan feels the same way.  

 

Also, my impression is that Nunez gets the lion's share of the big occasions such as opening nights and cinema relays.  However, I am sure other people on this forum will correct me if I am wrong!

[Guest]

17 minutes ago, Mary said:

It is absurd for Monahan to be reviewing a performance he has never seen by a performer who has never danced the role !

Equally, for anyone  to criticise the production before actually seeing it is a bit pointless.

 

I want to let my first viewing settle in my mind, and see it again, before saying more and I hope to read many interesting opinions on here from others  - who have seen the production.

 

Meanwhile, I think I shall respond to him by criticising his review without actually reading it.

 

 

I understand what you are saying and love your last line.

 

Possibly Monahan is putting himself into the role of director and as director, you have to make casting decisions about dancers who you have never seen in a role. As we know, Nunez is never nothing but reliable and can be a lot more than that to many people, but I agree with Monahan, without ever having seen Hayward as Cinderella because she's never danced it, but having seen her affinity with other Ashton roles (Rhapsody, Fille, Ondine extract, Vera, Dorabella - can anyone else add to that list - perhaps it's brevity reflects the paucity of Ashton works currently performed,) I have to say I agree with him. 

 

I think my biggest sadness about this revival is that it looks like we will never get to see Hayward as one of the season fairies. I always imagined her as Summer.

[Sim]

2 minutes ago, MJW said:

 

The lengthy intervals do annoy me - I appreciate time is required for set changes etc etc plus of course for the audience to do whatever but two half an hour intervals is a bit too much; perhaps 20 and 25 mins - its not that much shorter but can make all the difference for those travelling further home in the evening. Either that or start earlier!

 

The General overran by ten minutes so finished about 22:25. I knew I wouldn't be able to get to Waterloo for the 22:30 even if it had finished on time. Unfortunately SWR cancelled the fast 23:00 and I had to get the slow stopping train. I'm afraid that rather ruined the evening! 

What a shame.    I do so admire the dedication of people like you and all the others who struggle with the vagaries of the trains to come from outside of London.  Much as I love and adore ballet, I think I would give up the ghost!

[Tango Dancer]

29 minutes ago, Mary said:

It is absurd for Monahan to be reviewing a performance he has never seen by a performer who has never danced the role !

Equally, for anyone  to criticise the production before actually seeing it is a bit pointless.

 

 

Definitely! Obviously he psychically knows that Francesca will be amazing in the role because he has magical powers or something.  I mean honestly, she probably will be amazing but there's no way he can be sure until she actually performs it. 

 

It's pretty obvious that his problem with Marianela is that she isn't Francesca.  

 

 

[MJW]

Just now, Sim said:

What a shame.    I do so admire the dedication of people like you and all the others who struggle with the vagaries of the trains to come from outside of London.  Much as I love and adore ballet, I think I would give up the ghost!

 

I think I paid for the trip home from Woolf Works on the Tuesday evening where everything went smoothly; managed to catch a train home with two minutes to spare and was home within 80 minutes as opposed to 2.5hrs plus on Friday!

[zxDaveM]

8 minutes ago, MJW said:

 

The lengthy intervals do annoy me - I appreciate time is required for set changes etc etc plus of course for the audience to do whatever but two half an hour intervals is a bit too much; perhaps 20 and 25 mins - its not that much shorter but can make all the difference for those travelling further home in the evening. Either that or start earlier!

 

The General overran by ten minutes so finished about 22:25. I knew I wouldn't be able to get to Waterloo for the 22:30 even if it had finished on time. Unfortunately SWR cancelled the fast 23:00 and I had to get the slow stopping train. I'm afraid that rather ruined the evening! 

 

The performances that (overrun) three hours are a pain for me too, and I only live in south London. In their infinite wisdom, the 10.42 from Charing Cross no longer runs (to London Bridge to get my connection), and I really struggle to get the 10.40. The next one means I miss my last (local) train from LB, so have to make a decision to run the East Croydon gauntlet, or wizz over to Victoria to get the sloooowwww train to my local station. For a want of 2-3mins, I can get home 35-40 mins later than hoped