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9 April 2025
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5*****
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From the opening minor keys to the gloriously rich, deeply romantic climax, Prokofiev’s 1940s score for the ballet of Cinderella is so varied and immensely cinematic in the many themes and moods built into it. As ever, the Royal Ballet Sinfonia, under the baton of Charlotte Politi provide the most accomplished and immersive accompaniment to Birmingham Royal Ballet’s current production ofSir David Bintley’s version of the fairy tale.
Seasoned watchers of BRB have become used to the highest of standards and they are not disappointed here with a production which delivers on every level. The set designs – including a quite wonderful clock – of John Macfarlane provide the perfect canvas on which his sumptuous costumes stun and glitter and the wigs – oh, there are treats a plenty for those who like an outlandish wig. All complemented perfectly by David Finn’s lighting – the movement throughout from the darkness of a starry night sky to glorious sunshine is a joy to behold.
The story narrative is wonderfully straightforward and has all the elements of beauty, romance and fun that you would hope for – oh, and it is very, very funny. Much of the comedy provided by Cinderella’s stepsisters as performed by Rosanna Ely and Tessa Hogge, whose sense of comic timing and physical antics are quite brilliant; add to this the hilarious Frog Coachman (Tom Hazelby and the Lizard Footmen (Ixan Llorca Ferrer and Marlo Kempsey-Fagg) and there are laughs aplenty throughout. The routine between the sisters the Major Domo (Rory Mackay) and one of the waiters is comedy gold. Even when the roles are quite small, there is the highest quality of performance, illustrated perfectly by Gus Payne, a vision in red and pink as the Dancing Master; quite wonderful.
In Lachlan Monaghan, you have the ideal Prince, a commanding presence on stage with matinee idol looks and an ease of movement which demonstrates his skills, experience and fitness; he carries out the lifts with an apparent complete lack of effort. It is a masterful performance and is perfectly partnered with Yu Kurihara as the downtrodden, unloved titular character. Danced with enormous charm and with stunning pointe work, this Cinderella is vulnerable, but with a feisty quality and when with the Prince, the atmosphere is electric – their pas de deux in the second act is a thing of utter beauty, as is the simple but emotional end to the ballet.
However, this isn’t just about the excellence of individuals, everyone in the Company excels.
David Bintley’s choreography is elegant and complex, stylish and comic and the combination is infectious. The whole production screams quality and just gets better and better and as the curtain falls it is a hard heart that hasn’t been caught up in the romance of the whole. This is another feather in the cap of Birmingham Royal Ballet and their tours around the country are lapped up by the fortunate audiences who are able to see the highest levels of ballet.
Cast
Cinderella – Yu Kurihara
Prince – Lachlan Monaghan
Stepsisters – Rosanna Ely, Tessa Hogge
Stepmother – Daria Stanciulescu
Fairy Godmother – Isabella Howard
Spring – Miki Mizutani
Summer – Yuki Sugiura
Autumn – Amelia Thompson
Winter – Rachele Pizzillo
Dancing Master – Gus Payne
Dressmaker – Jack Easton
Hairdresser – Louis Andreasen
Wigmaker – Shuailun Wu
Frog Coachman – Tom Hazelby
Lizard Coachmen – Ixan Llorca Ferrer, Mario Kempsey-Fagg
Violinists – Philip Aird, Robert Simmons
The Prince’s Friends – Gus Payne, Oscar Kempsey-Fagg, Shuailun Wu, Javier Rojas
Major Domo – Rory Mackay
Mice Pages – Isabelle Nygen, Betsy Ridley
Creatives
Music – Sergei Prokofiev
Choreography – David Bintley
Designs – John Macfarlane
Lighting – David Finn
Conductor – Charlotte Politi
Photo image – Katja Ogrin
