The Australian Ballet: Cinderella -
State Theatre, Melbourne, 19 June 2015 -
The return to Melbourne of Alexei Ratmansky’s Cinderella, choreographed especially for the Australian Ballet in 2013, was a much anticipated event. One thing it proves for sure – there is nothing to beat the attraction of a good story ballet well told. Ratmansky’s production is Daliesque and bathed in surreal elements in the design, most memorably the topiary trees converting into metronome clocks ticking down the moments to midnight. The choreography skilfully blends music hall and slapstick humour with an extended classical vocabulary, which has a welcome emphasis on arms and upper body movement. The Fairy Godmother, though potent, never loses her unglamorous disguise, while the Seasons and the animal helpers and the pumpkin are replaced here by planets and stars which convey Cinderella to the ball. While the concept is interesting, and the appearance of the huge clock at the end of the transformation scene remains impressive, the balloon skirts for the planets do not improve on second viewing. Sets and design on the whole, though, are coherent and imaginative, blending surrealist fantasy with post World War II ambience. The major emphasis of the choreography is on fun and entertainment. In fact, it is when one can sense the dancers going full out for the comedy and enjoying themselves that this production really comes together.
In spite of these strengths, this opening night performance did not convince that Ratmansky’s Cinderella will necessarily stand the test of time, especially in comparison to Ashton’s version. The potential is there for it to date rather quickly. The entertaining elements, often over the top, were certainly present but on their own they could only stretch so far. So despite very solid dancing from the entire cast, this Cinderella as a whole felt flat. This is not in any way to denigrate some outstanding individual performances. It was just in the way it all came together that there was a certain superficiality and lack of subtext.
That said, Valerie Tereshchenko all but stole the show as the very glamorous and very determined Stepmother, exuding energy and spark at her every appearance. Her two daughters, Skinny (Ingrid Gow) and Dumpy (Eloise Fryer), were a great comic double act, ridiculous, obnoxious and yet strangely endearing in equal measure in their embarrassing cringe-worthiness. Eloise Fryer reaffirmed her talent as a soubrette, while both she and Ingrid Gow milked every bit of acting and characterisation the choreography afforded them. Another stand out performance was by Imogen Chapman, dancing with polish and ease as the magnetic Lead Temptress.
Lana Jones as Cinderella did not put a foot wrong, sailing though the technical difficulties of the role, as did Ty King-Wall in the role of the Prince. Lana Jones’s style and strength are impeccable, allied with an attractive soft quality and beautiful lines. Yet she could not capture the vulnerability and sweet pathos of the character, despite some affective acting, which gained in depth as the evening wore on. And the partnership between her and her Prince was lacking in chemistry despite beautiful dancing from both throughout the series of pas de deux which are the vehicle through which their relationship progresses.
Act II was best overall with some great quasi Hollywood numbers danced by the corps in the ball scene. As the Stepmother, Tereshchenko took over the stage as soon as she arrived, drawing the eye with her acting and the expressive freedom of her arms and upper body, while both Stepsisters produced cameo solos that were excellent and huge fun. This is choreography to have fun with and when the dancers do so the fun can become infectious.
And yet, the overall impression left by the show was somewhat lacklustre and two dimensional, lacking sparkle apart from a few notable exceptions. It will be interesting to see how this production stands up to the passage of time and whether it will have the depth and drama to survive.
- Irina Kuzminsky