Prokofiev : Cinderella
Artists of Scottish Ballet
Scottish Ballet Orchestra
Atvars Lakstigala
When Scottish Ballet announced a new production of Cinderella for the 2015 festive season, and given that we had just seen a revival of Peter Darrell's Nutcracker, I did wonder for a bit if they were going to revive Darrell's Cinderella. That would have been welcome, because it was original in using a Rossini score, and I have fond memories of it. However, what was in the offing was a new-to-Europe version by the company's Artistic Director Christopher Hampson, and set to the familiar Prokofiev. Originally created in 2007 for Royal New Zealand Ballet, Hampson took advantage of the similar size of the two companies to present a Cinderella already largely tailor-made for a company like Scottish Ballet, but while the score is, of course, a masterpiece, there's a lot of serious competition out there for the choreography. I have five different, independent versions in my DVD library, and I've seen another two on top of that.
Hampson's version is quite appealing, but also quite superficial, despite intermittent attempts at touching on more serious issues. Cinderella's Father is shown as a drunkard, and encouraged to be so by his stepdaughters, in order to keep him out the way, for example, while the Tailor and the Dancing Master in the first act are drawn to Cinderella, which renders the jealousy of the step-mother and -sisters more tangible, rather than simple, mindless bullying. On the whole, however, it's a very straightforward interpretation, and Hampson's choreography is, largely, equally simple. I don't mean to imply that it's not challenging for the dancers, merely that it's predictable and not especially memorable. There were some numbers that stood out, such as the Grasshopper's solo in the 1st act, replacing what is usually the Spring Fairy's number, or the hilarious line of dancing legs at the start of Act 3 - a row of girls of whom all that could be seen was their spotlit legs, like a kind of Folies Bergère number. However, the strongest characterisation was that of the stepsisters, and it owed a good deal to the classic Ashton version, and Ashton and Helpmann's unforgettable turn in those roles.
On the other hand, the production is an absolute delight visually, exquisitely designed by Tracy Grant Lord, with an ingenious arrangement for the interior of Cinderella's home, a sort of trompe-l'ceil half back-drop that reminded me curiously of the work of the Scottish Colourist painters, and a nature theme redolent of Mucha's opulent designs. Delicate pastel shades of greys, blues or pinks, for the outer acts contrasted with the velvety, star-studded black of the ball scene, and the court in sharp black and pink, while the 'steps' stood out in hot pink, buttercup yellow or bronze-green. There was real magic here, in all aspects of the design, a true pleasure to behold.
The company's ensemble work was also a real pleasure to see, extremely well synchronised, arms and legs moving in perfect unison. Victor Zarallo, as one of the Prince's friends, was having a rare bad day, unfortunately, and got the second act off to a slightly rocky start, and Andrew Peasgood's Prince, while a good partner to Sophie Martin's Cinderella, lacked a bit of punch in his solo numbers. Thomas Edwards, however, produced a suitably flashy Dancing Master, twirling his cane like a slightly manic Fred Astaire, and followed it up with a sprightly, entertaining Grasshopper, while Christopher Harrison made a good job of the conflicted, confused Father.
Sophie Martin was a fine, fresh Cinderella, with a nicely flowing line, while Eve Mutso was coolly elegant as the Fairy Godmother. Mutso will be leaving the company after this run of Cinderella; she will be missed. The show was rather stolen, however, by the stepsisters of Aisling Brangan and, particularly, Madeline Squire, delightfully mischievous in her ridiculously saucy Act 2 solo. And whatever lacunae I felt existed in the choreographic interpretations were, to a considerable degree, compensated for by excellent and evocative playing from the Scottish Ballet Orchestra, which was a treat to hear.
[Next : 14th January]
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