Review: CINDERELLA, Birmingham Hippodrome

Sir David Bintley’s 2010 production of Cinderella has been long overdue an outing, and based on Wednesday’s opening night at Birmingham Hippodrome it is worth the wait. Thanks to Birmingham Royal Ballet’s fundraising efforts, the work now returns refreshed with restored costumes and a dazzling cast, and the result is a magical and sumptuous evening of dance with just the right dash of humour. 

John MacFarlane’s clever set moves from the closed-in and claustrophobic greys of Cinderella’s kitchen, before opening up to reveal a kaleidoscope of purples and blues for her meeting with her Fairy Godmother (Tori Forsyth-Hecken). Yu Kurihara is a charming and fleet-footed Cinderella. Despite her brutal existence, she moves with a free and easy vitality, every inch the pure hearted heroine. She is impressively assured throughout, nothing appears to challenge her as she breezes through the whimsical choreography of act one. She has a quietly powerful jump allowing for a real command of the stage, until we later see sincerity and empathy in her treatment of an elderly woman wearing rags who will eventually become her Fairy Godmother.

For those on the fence when it comes to the ballet of Cinderella, it’s typically the role of the Stepsisters which divides opinion. Sir Frederick Ashton’s production (mostly) sees men in the role and extended periods of slapstick, while Christopher Wheeldon’s opts for a kind hearted dimwit and a bossy boots. These takes never made me laugh out loud in the way Olivia Chang Clarke and Eilis Small did. Deliberate “bad” dancing en pointe is not an easy skill, but these two master it and the comic timing with aplomb. Small is sure-footed and expressive, no doubt that she’s in charge. But it’s Chang Clarke’s completely uninhibited interpretation that steals the show. Danced without a shred of vanity in gharish eyeshadow and a padded suit over which there’s a hideous canary yellow tutu - it wouldn't work with anything less than full commitment. She raises a laugh every time she shuffles on stage, frequently with a cupcake in hand.

The cast is completed by Daria Stanciulescu’s humourless but majestic Stepmother in a variety of tailored outfits that she uses to great effect to sweep across the stage - a paragon of sensibility amongst the chaos of her daughters. 

The highlight of any Cinderella is, of course, the opulent ball scene. Prokofiev’s score performed by the Royal Ballet Sinfonia swells magnificently, once again moving the action along with pace. Macfarlane’s moody designs for the macabre centerpiece are also deeply atmospheric. The seasonal fairies wear black tutus with hints of their assigned colour in a departure from the more usual bright displays. It is preceded, in contrast, by an ensemble of “stars”, dancers in silver glittering tutus (think Snowflakes in Nutcracker) to set up the magical scene.  

Cinderella’s entrance down the staircase filled with dry ice is wonderful drama, she carefully bourrées from side to side before each delicate step down. We also finally meet a most worthy Prince in Lachlan Monaghan. So often this role is a generic vehicle for Cinders to live happily ever after but I liked the attention to detail in Monaghan’s characterisation such as his subtle expression of horror when it’s suggested he dances with the sisters. More importantly, he eats up the stage with a whirlwind of tours and compact jumps. As the music softens, the pas de deux with Kurihara is tender and romantic, a great showcase of a confident partnership.

Act III sees all the usual tropes as women desperately try to hammer Cinderella’s elegant little slipper to their feet. Cinderella and the Prince share a final sequence in which she wears a long white skirt that billows dreamily amongst the mellow choreography. Their connection is sugary sweet and fitting of the fairytale ending. 

Bintley’s beautifully traditional production is a treat in both dance and design; funny, charming and laced in sparkles, this is a luxurious night at the ballet led by a steller opening night cast. 

BRB's Cinderella tours the UK until 12 April 2025

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