Review: CINDERELLA, Royal Opera House

Opening nights tend to be special. So what's 'A Gala Celebration' opening night at the Royal Opera House going to feel like? Spontaneous combustion?! Perhaps from the ticket prices...

Regardless, last night was indeed an occasion; the inaugural performance of a new co-production (with the National Ballet of Canada) of Sir Frederick Ashton's Cinderella (1948).

Opening night had a stellar cast of course. None other than the Royal Ballet's dream team Marianela Núñez (awarded the 25 year RB service medal at the end of the show) and Vadim Muntagirov. Two major, principal dancers who can't be questioned in their talent and experience, but are they Ashton dancers? Do they encapsulate the characters?

Núñez did the House scene in Act 1 justice. She is innately musical throughout, respectful of the choreographic intention keeping extensions (generally) around 90 degrees, and showed the Ashton footwork precision very clearly. Her character has a genuine communication of the longing she felt for her dead mother, but elsewhere it lacks obvious depth.

Act 2 for the lead couple is both challenging and unconventional. Ashton reversed the formulaic order of things - solos first and then the pas de deux. Núñez, like all dancers, is at her most interesting when challenged, and Cinderella as a role is technically very tough. Her initial entrance sparkles, but then the dancing becomes too safe for my liking, lacking excitement. Things improve in her solo. It is wonderful to see a full and successful attempt at the legendary cambré/recover combo. I'd encourage Maestro Koen Kessels to pick up the tempi a little. Núñez will rise to the challenge even more if pushed speed wise - allowing no time for 'safe' dancing. Muntagirov is his usual stunning self. The best plié in the biz and the ultimate Prince Charming.

There are many choreographic high points throughout, with the Seasons in Act 1 being especially divine. However, Anna Rose O'Sullivan is the only one I truly believed in, from start to finish. Her performance of Spring is tight and playful; as it should be. Elsewhere I missed strength of footwork, and the all important Ashtonian bend of the body. Though no one can deny the elegance Fumi Kaneko brings to the Fairy Godmother.

Stars is still to this day, one of the most original numbers for a corps de ballet going. In action it looks very well rehearsed, but the pas de chat needs a lot more lift in the hips and feet (likewise in the Seasons coda), and some of the speedy, ravishing port de bras lack dynamic and finish. Both required in abundance in Ashton ballets: non-negotiable.

As the ever-present Step-sisters. Gary Avis and Luca Acri work well as a pair, and hit every nail going on the head, but at times feel somewhat OTT.

Initially the lights feel weak but improve as the show develops. Act 2 now takes place in the Garden which works, though Tom Pye's The Wicker Man-inspired wing adornments look a little lost in the cavernous ROH. The set breaks apart to transition, but what's left behind looks broken and unfinished.

Magic really does abound, but it also feels a bit on the busy side and the projections are a little off-putting. Flowers actively bloom as the dancers move in Act 1; consequently one doesn't quite know where to look, detracting from the actual dancing.

Alexandra Byrne's costumes are vivid, verging on lurid and a little too adorned. But my biggest predicament is the hair/wig situation. It's all so top heavy it actually alters the overall visual balance of the dancers. The men channelling electrocuted Elvis - the women, a heady concoction of Bet Lynch and Cruella de Vil.

I'm aware it was opening night - so nerves were bound to be running high. But there was the odd, undeniable flurry of questionable execution from within the highest ranks of the company - and some substantial sections of dancing that lacked Ashtonian embodiment from the Ashton company itself; sad but true. Crucially; if you like panto, you'll be just fine.

Cinderella is at the Royal Opera House until 4 May

Photo Credit: Tristram Kenton

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