Christopher Wheeldon's playful choreography perfectly matches Sergei Prokofiev's talent for combining characters, story and music. Both artists have a unique quality that makes their work instantly recognizable. So it's only fitting that Wheeldon should take on Prokofiev's "Cinderella." And he partners with a long list of scenic, lighting and puppet designers, most with experience working in the Broadway, film and opera industries. The result led to sold-out crowds for last year's run at San Francisco Ballet. Now the production returns for a limited time with the audience anticipation and enthusiasm just as strong.
Partly inspired by the original Grimm fairy tale, the Dutch National Ballet co-production offers a libretto by Craig Lucas with a new prologue and a changed story. In place of a magical godmother, a fantastical tree grows from Cinderella's tears while she mourns the death of her mother. Seasonal spirits in bright colors later teach Cinderella to dance, culminating in the heroine emerging from her mother's tree and wearing Julian Crouch's golden, feathered ball gown. The audience also gains a new appreciation for the prince, as Lucas' story makes room for the prince as both a child and young man. He and best friend Benjamin switch places, allowing the prince an opportune meeting with Cinderella before the ball. Benjamin and the kinder of Cinderella's two step-sisters fall in love, as well.
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