Review: MATTHEW BOURNE'S CINDERELLA, Sadler's Wells

Thanks to Matthew Bourne, now Christmas in London doesn't only mean endless Nutcrackers (as lovely as they are), but for over 15 years dance fans have been treated to his theatrical mix of Gothic grit and fairytale charm, transporting the audience to a bygone era.

This year's festive offering of Cinderella (last seen at Sadler's Wells in the Christmas of 2010) is no different, and fans of Bourne will adore this glamorous tale set against the contrasting backdrop of bleak wartime London.

Lez Brotherston's set designs for this production are particularly exquisite. The initial dull colour palette to illustrate Cinders' mundane home life as a servant to her demanding step-siblings later transforms to the opulence of the sleek, sophisticated Café de Paris for the dreamy ball scene.

Choreographic highlights come not only in the big ensemble numbers Bourne is known for, but in the form of the "morning after" duet too. This simple scene stands out in a production full of clever set trickery and glitter balls hanging from the ceiling.

It's a wonderfully stripped-back portrayal of the passion shared between Cinderella (the consistently brilliant Ashley Shaw) and Harry, the pilot (Andrew Monaghan). The inherently grim and dangerous setting of wartime London makes the love story all the more fraught with tension and the imminent possibility for loss.

Set to Prokofiev's score, there are moments that feel unnecessarily long, however Bourne's witty subplots allow for more textured characterisation within Cinderella's self-absorbed family. There's the stoic father who gives away little emotion, a masterful turn by Michela Meazza as the devious and flirtatious Stepmother, and the dopey step-brothers, one of whom has a fetish for Cinderella's sparkling silver pumps.

The character of the Angel, whose magical interjections lead Cinderella to the ball, is danced exuberantly by Liam Mower in a metallic white suit and a helmet of white slicked-back hair. Mower owns the role enthusiastically, though in Act One his presence feels too much like filler and prelude for Cinderella's story. His dramatic emerging at the Café de Paris, however, as to remind Cinderella of the ticking clock, is well timed, creating drama and urgency.

Shaw's Cinderella undergoes a character transformation throughout this telling of the story. The mousy and reserved Cinders of Act One who dances neatly and precisely is unrecognisable as the leading lady of the ball in Act Two. Gone are the geeky spectacles and shy disposition. The Cinderella of the ball is elegant, her sophistication and new glamorous identify matching her surroundings.

Shaw dances effortlessly in these scenes, but remains careful to display every prick of emotion - notably, especially once she finds herself confined to the sanatorium.

Brotherston's set is stunning throughout and filled with the kind of thoughtful details that ensure audiences will always return to Bourne's productions. The London Underground scenes are cleverly realised and the low-key finale at Paddington Station is deeply touching, reminiscent of scenes from Brief Encounter - it even features an old-fashioned station tea room.

Indeed, Cinderella is one of Bourne's most accomplished and polished retellings to date, full of his signature humour, charm, detail and thrilling choreography. There may be some moments of fille,r but Prokofiev's score is fine enough for him to get away with it. This is a luxurious family treat to be enjoyed by all.

Cinderella runs at Sadler's Wells until January 27, 2018

Image credit: Johan Persson

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