Cinderella
Royal Opera House | ★★★★★


Frederick Ashton’s Cinderella celebrates its 75th anniversary this season and, after more than a decade away, a new production brings the famous fairy-tale back to the Royal Opera House stage.

His original choreography has been retained, as has the music — Prokofiev’s glittering score — but fresh designs and costumes re-invigorate this well-loved classic.

Lighting designer David Finn has worked with video designer Finn Ross to create a truly magical experience: the atmosphere is set during the overture, when lights shimmer around the darkened auditorium inviting us into this fairytale world. Tom Pye’s beautiful sets add to the feeling of enchantment, especially during the transformation scene.

Yuhui Choe in Cinderella, The Royal Ballet ©2023 Tristram Kenton

Yuhui Choe in Cinderella (Tristram Kenton)

The power of nature overwhelms the drab room where the first act is set, and flowers and fruits from the seasons burst through to reveal a fantastic realm of beauty. Even the corners of the proscenium arch are transformed as the seasons shift — a clever use of projection.

We never get the feeling that the technology is there for its own sake; instead, it is wisely used to add to the magical atmosphere.

Alexandra Byrne’s costumes are beautiful: some have a Fifties vibe about them; the Step Sisters’ gowns are a riot of colour while the four fairies’ dresses reflect the shades found in the different seasons.

The Sisters in Ashton’s ballet have always been danced by men in the tradition of the pantomime dame (Ashton himself was a great Sister), but the quarrelsome siblings this time around will sometimes be danced by two women. It will be interesting to see what this brings to the production.

On opening night — a gala that saw the audience in posh frocks and dinner suits, and floral decorations in abundance — Marianela Núñez and Vadim Muntagirov danced the roles of Cinderella and her Prince. This is a ballet all about sharp, neat footwork and Núñez gave us a masterclass in Ashton style.

Secure in her balances and so very fast, she shows a real radiance when dancing with the splendid Muntagirov.

Marianela Nunez in Cinderella, The Royal Ballet ©2023 Tristram Kenton

Marianela Núñez (Tristram Kenton)

Fumi Kaneko’s Fairy Godmother was warm and benevolent — Kaneko does a nice line in benevolence as she dances a lovely Lilac Fairy in the company’s current Sleeping Beauty too — and she looked particularly ravishing in a purple and white long tutu.

All the cast were on top form, but Gary Avis deserves a mention as one of the Step Sisters — he always manages to steal every scene in which he appears.

Praise too, to Koen Kessels for conducting Prokofiev’s sublime score. The famous waltz has such a sinister impulse to it as the clock ticks toward midnight and Kessels brings out the magic and wonder of the entire work.

This new production is a triumph — for a feelgood trip to the ballet, it is hard to beat, and the (literally) sparkling ending will have you sighing with delight.

‘Cinderella’ is at the Royal Opera House until May 3 with a live cinema screening on April 12