Review: CINDERELLA, Royal Opera House

This year’s festive crowd pleaser from the Royal Ballet does not feature a growing Christmas tree nor a Kingdom of Sweets. Instead, an alternative is offered in the form of Frederick Ashton’s 1948 Cinderella, revived eighteen months ago after a lengthy absence and seen again now for the festive season. It’s a glittering production, magical and accessible but the dominance of pantomime and the spreading of the thin plot over three acts is a little testing, despite the expected flawless performances. 

Marianela Nuñez is a pure and dutiful Cinderella, unperturbed by the endless antics of her stepsisters (Gary Avis and Luca Acri). A quiet and unassuming presence initially, she radiates benevolence, and once permitted to take centre stage and partnering her broomstick she giggles girlishly as she impersonates her sister’s stompy steps with whip-fast feet. 

It’s those sisters though who steal the show, or at least they sure as hell try. They are cartoonish characters and gamely portrayed. Avis as the bossy and ignorant one, while Luca Acri’s is dim but well intentioned. They raise more than the occasional laugh, from Avis swinging a string of beads, hula hoop style around his neck to Acri’s many slapstick falls at the ball, and there is huge commitment by both to keeping those wacky facial expressions in check. The audience may be craving some elegance and romance with Cinderella and the Prince, but in each divertissement these sisters just slightly outstay their welcome, and for some tastes they are a step too close to pantomime. 

Aside from Nuñez, there is further ethereal allure from Mayara Magri’s silky smooth Fairy Godmother. She oozes an easy control and authority whilst remaining delicate and soft in pretty pastel lilac. She is joined by some fine seasonal turns; Isabella Gasparini’s Spring is agile and spritely, while Claire Calvert is severe and regal as an icy Winter. 

We don’t glimpse Reece Clarke’s eye-catching Prince until Act II, but he has a marked stage presence not just for his impressive height but also assured characterisation. His Prince is gentle, carries his royalty lightly and is greatly attentive to Cinderella. The creamy soft landings never falter and there is a definite warmth between the pair although I would not go as far to say chemistry. 

All this amongst Prokofiev's largely mournful score. After setting an initially bleak mood, the music swells and the action is propelled forward but never gets truly going until the rousing preamble to the ball scene. There is something darkly macabre about the brooding waltz of it, and when Cinderella’s carriage emerges, she is placed serenely aboard with a swirling veil, it’s a brief goosebump inducing moment. The urgent bongs of the clock as midnight is signalled is the other engrossing highlight as Nuñez scrambles to escape the scene. 

Tom Pye’s designs and Alexandra Bryne’s costumes evoke a vibrant spectacle. The shift from Cinderella's murky servant quarters to the glittering ballroom is wonderfully magical. The various garish horrors for the Stepsisters are naturally an over the top and frumpy affair. I did not like the visibility of the white vests underneath their gowns for the ball which seemed not in keeping with the occasion, however. Meanwhile Nunez’ sparkling white tutu ensures she positively glows upon her grand entrance, as she delicately descends the staircase en pointe.

Act III is brief and brings further opportunity for the sisters to lark about with Cinderella’s shoe. Once the true owner of which is located, Cinderella and the Prince can finally showboat a little, the technical demands not troubling either of them, but for the ensemble there is a lot of decorative filler. 

As glitter rains down on the happy couple, framed by this colourful cast it’s a picture perfect scene that shimmers with stardust, but Ashton’s Cinderella does not always elicit the feelgood glow of what we’ve come to expect from the Royal Ballet at Christmas. It’s still great fun, with much to savour and performances, sincere and comical, which will bring joy to all. 

Image: Andrej Uspenski

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