Queensland Ballet Theatre
Cinderella
Star, Gold Coast
July 11
Ballet Theatre Queensland’s 2025 production of Cinderella opened to a packed house at the Star Gold Coast, delivering a magical and polished performance that sparkled with youthful energy and impressive stagecraft.
From the very first moments, the audience was immersed in a visually stunning world. The set design, conceived by architect Demos Gougoulas, was nothing short of inspired. A seamless blend of architectural sophistication and theatrical whimsy, the design elevated the entire production — with particular mention to the charming horse-drawn coach that closed Act I, which earned audible gasps from the audience.
Abby Haller in the title role of Cinderella brought a delicate presence to the stage. While her acting in the early scenes didn’t always reach the back of the theatre, her performance blossomed as the evening progressed. Her transformation — both physically and emotionally — into the Cinderella of the ball was compelling and heartfelt. Her costume transition scene, from rags to shimmering gown, was clever, slickly executed, and a highlight of the first act.
Costume design across the board was sumptuous and thoughtful, capturing both character and era. The young ‘pumpkin dances’ were a visual treat, and the partnering sequences between the pumpkins and Cavaliers added an unexpected layer of charm and wholesome humour that resonated well with the audience.
Choreographer & Artistic Director Clare Morehen offered bold, challenging choreography that demanded a lot from the young cast. The movement was highly musical, dynamic, and engaging. The stepsisters, played with comedic flair, earned their laughs — although their jumps sometimes revealed a lack of lower leg control. Nevertheless, their stage presence was strong and entertaining.
The four Season Fairies brought a mix of technical strengths to the stage. Winter Fairy Zara showed clean, confident technique in her solo work, supported by a well-coordinated ensemble of background fairies. Autumn Fairy Isabel offered elegant lines, though a stronger facial connection with the audience would have enhanced her performance. Chloe, as Spring Fairy, will benefit from refining her arabesque line to achieve a more square, classical silhouette. Katie, representing Summer, danced with control and musicality throughout.
The Fairy Godmother was portrayed with poise and a gentle sense of magic. Her interactions with Cinderella had sincerity, and her mime was clear and well paced — a solid, graceful presence in the narrative.
Musical composition by Lucas D. Lynch added a dynamic and vibrant soundscape to the production. The music supported the dramatic arc beautifully, enhancing the whimsy and emotion of each act without overpowering the dancers.
It’s worth noting that the magic on stage was occasionally challenged by lapses in audience etiquette, including late arrivals, rustling food wrappers, and intermittent chatter. It’s a reminder that respectful theatre etiquette plays a vital role in supporting young performers and their hard work.
Act II opened with a regal ballroom scene, bathed in soft lighting and enhanced by elegant purple gowns worn by the corps de ballet. The waltzing was joyful and well-rehearsed, with smiling faces and flowing movement. The stepsisters continued to provide comic relief with good timing and well-placed antics.
The Prince, danced by Jordan Lennon, made a bold entrance. While physically strong and charismatic, his opening solo felt more boisterous than refined, as a classical prince, a touch more polish would have helped balance strength with royal elegance. The partnering with Cinderella was tender, and their connection grew stronger as the act unfolded.
A whimsical moment occurred when two cloaked girls magically emerged and paired with Jayden Grogen as the Jester — a playful and well-received interlude that reinvigorated the ballroom sequence. The Cavaliers returned, this time joining forces with the Season Fairies (now transformed into Princesses), adding momentum to the ensemble scenes.
Cinderella’s solo was lyrical and expressive, with lovely use of breath and a growing rapport with the audience. The Prince’s solo, though energetic, appeared brittle at times and did not fully capitalise on the opportunity to showcase strength through classical line and softness.
The Wedding Pas de Deux was beautifully romantic, with flowing lifts and sincere connection between the leads. The lighting design truly shone here, casting a warm golden glow that recalled the grandeur of The Sleeping Beauty. It was an elegant culmination to the story’s romantic arc.
A standout theatrical moment came when midnight struck. A large looming clock onstage visually anchored the suspense, and the audience audibly reacted as the drama escalated. The subsequent search for the missing slipper was cleverly reimagined: the slicing of the stage to show various feet trying on the shoe was inventive and comical.
The final reunion between Cinderella and the Prince was touching. The coda was well-paced and celebratory, closing with a classic fairytale ending that left the audience cheering.
BTQ’s Cinderella is a high-calibre youth ballet production that boldly steps beyond the expectations of student performance. With live orchestral accompaniment, inventive staging, and richly detailed design, it’s clear BTQ is pushing boundaries and offering its young dancers a truly professional experience. The result is a joyful, polished and visually arresting production that proves the future of youth ballet in Queensland is in very good hands.
-Gabriel Rogers
Gabriel is a managing director and founder of GentsHQ