Cinderella

Having already seen the English National Ballet's Production of Cinderella in 2001, we were extremely happy to see it grace the Hippodrome stage once again this week; in fact this is the 107th performance. We also welcomed the return of Erina Takahashi whose expressive portrayal of Cindrella is enchanting throughout.

As the curtain goes up, we see Cinderella sitting alone, dreaming. Her stepsisters, played by Adela Kamirez and Joanne Clarke, enter the kitchen teasing her by flaunting their invitation to the forthcoming Prince's ball.  The sisters show off their technique with some lovely choreography in opposition, followed by beautifully neat pointwork from Cinderella and a notable performance from Cinderella's stepmother, Jane Haworth, who manages to exude a spark of predatory viciousness. The quality of the sisters' style is maintained throughout - although in spite of their flouncing and sneering, the two bear little resemblance to the traditional ugly, cruel and menacing sisters of the early tale.  

In this version of the fairytale, (it has been estimated that there are at least 1,500 variations worldwide) the Fairy Godmother turns the kitchen into a magical forest and conjures up the Four Seasons who dance for Cinderella. Each season is represented powerfully by a male and female dancer who elegantly perform challenging lift work. Once again Alice Crawford, the Spring Fairy, deserves a special mention for spontaneity of movement.  A truly wonderful solo is danced by The Master of Ceremonies, Dincer Solomon, who has thigh muscles to equal a world-class rugby player. Playing the role of the Prince offered a complete contrast for Jan-Erik Wikstrom to the modern ballet in which he also excelled earlier this week.   

The Corps de Ballet - females stunningly costumed in navy ballet length net dresses and males wearing dark blue tail coats - create a striking contrast to the stars in white tutus who accompany Cinderella to the ball. Cinderella's entry is stunning as she is carried at shoulder height across the stage. Again, the scenery is superb with sparkling chandeliers decorating the impressive Grand Hall in Act Two.

The final act completes the story satisfactorily as the night gives way to dawn and a new life for Cinderella. This really is a ballet for children of all ages. Prokofiev's sometimes rather sombre score is played imaginatively and expressively by a powerful and exacting orchestra. Michael Corder, choreographer should be delighted with the attention to detail of the dancers who provide first class classical ballet. This company is really reaching new levels and we eagerly await its return.

Triple Bill

In 'Drink to me Only With Thine Eyes' Mark Morris, the choreographer, celebrates classical ballet using speed, precision and classical line whilst flavouring it with witty and sensuous moves. As the curtain rises a lone pianist begins to play a dark semi-silhouetted grand piano. Ominous minor chords are struck as male dancers sail swiftly across the stage carrying rigid ballerinas.

As the scene progresses, the music moves through one after another of the thirteen pieces, with a playful air. Dancers adapt their style to become reminiscent of childhood times. Echoes of the nusery give way to unpredictable enchainments. At times the dance is uniform whilst at others, the white clad dancers flock and swarm like migrating birds. Effective lighting reflects the mood of the movement changing from blue through pink and pastel shades to a satisfying amber. Likewise, the dancers serene moves create a sense of harmony. This is an unusual, light and refreshing performance.

The unique ballet of 'Trapeze'  was lost for many years. One wonders how the audience of 1926 would have reacted to the interpretation of this dance today, in which physical relationships are accentuated. The original ballet depicted circus life with ballerinas, tightrope walkers, clowns and wild animal tamers. This performance forms part of the fiftieth year anniversary of Prokofiev's death.The third movement being in the composers own words, "the hardest thing to perform for both the musicians and the dancers, demanding great agility and precision." This was highlighted when Sarah Mcllroy placed her feet on the vertical ropes of the trapeze and suspended herself into the box splits.

In comparison to the two earlier ballets, 'Melody on the Move' begins with a full orchestral overture. A door in a 1930's style radiogram opens and ten pairs of dancers flood through in a flurry which would, no doubt, have impressed Fred Astaire and Ginger Rodgers.Super cannon choreography gives way to fancy formations of 'post war optimistic, happy housewives'. Dusters are swept aside as male dancers clutching carpet sweeepers glide across the picture of domestic bliss. This whole satirical performance really explored the stereotypes of the thirties, forties and fifties with  humour,  energy and glamour.

Overall, I feel the programme offers three pieces of superb quality: joyful, acrobatic and entertaining. Having followed 'The National'  for many years, I feel it fair to say this must be one of their best ever triple bills, executed with superb precision and energy. This company is reaching new heights of excellence - a must for anyone who with an interest in dance!

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