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Welcome to a world of rags and riches, of sadness and joy, of laughter, whimsy and magic on pointe.
WA Ballet’s final production of the season is classical-ballet-meets-fairytale, with a dash of physical comedy. Cinderella is the first full-length production choreographed by Jane Smeulders for the company. First performed in 2011, it has returned to delight Perth audiences with lighthearted romance, stunning visuals, and exquisite dance.
The prologue opens to a funeral, where young Cinderella farewells her mother and is mocked by her stepsisters. Little-girl Cinderella becomes older in an elegant transition, and Act I begins
Performed by Mayume Noguromi on opening night, Cinderella’s character is defined by loneliness as much as delight. From her first solo onward, Noguromi exudes imagination and contagious optimism through her expressive execution of Smeulders’ choreography.
Oscar Valdés as the Prince leans into his considerable strength, skill and grace in this role, with choreography that emphasises all of the above. The height of his leaps and speed of his spins suggest he may have springs in his legs instead of muscles.
Polly Hilton is ethereal as the Fairy Godmother, with playful pointework and joyful jetes. When she first appears under dappled light, her presence distracts the audience so much the set change happens like magic.
Cinderella: stars of the show
However, the real stars of the show are Pamela Barnes & Asja Petvoski as Cinderella’s Stepsisters. Smeulders’ choreography positions them as comic relief, bordering on slapstick. The performers’ expressions and dramatic gestures add yet more humour, to great effect. It takes skill to be graceful, but even more skill to pretend not to be.
At the ball, the Stepsisters – shameless and classless – make utter fools of themselves. They dance to a different tune with over-the-top shimmies, leg-reveals and even a cheeky Prince-butt-grab. This is probably the only ballet production ever to feature the sprinkler and the robot.
In the ballroom, guests are dressed in various shades of crimson, red and pink; except for the Stepmother and Stepsisters whose vintage-cut green dresses set them apart.
Cinderella: costume design
Smeulders’ choreography and Allan Lees’ costume design perfectly complement each other and emphasise the movement of the dancers throughout the production.
The Prince’s white costume and gold accents render Valdés a very convincing prince, especially alongside Cinderella, whose white ballgown bodice features Argyle diamonds and Australian South Sea pearls.
The Magical Bird costumes are textured without being overcomplicated, complete with feathered fascinators and face paint.
From the empty bird cage symbolising Cinderella’s loneliness, to the birdlike choreography of her final pas de deux, birds symbolise love throughout the production.
Even the Stepsisters primp and preen like birds, in their ridiculous attempts to gain the Prince’s affection.
Cinderella: set design
Allan Lees’ set design is both grand and whimsical, with multiple set changes, and an ornate silver chariot.
Cinderella’s home is right out of the 1930s, with ornate wallpaper, a fireplace, a sofa and an empty birdcage. A distorted full-length mirror functions as a portal with the help of Benjamin Fry and Jon Buswell’s lighting design, which augment the impact of set pieces and costumes alike.
In the garden, subtle spotlights enhance the blue-green surreality, and are utilised to make the Fairy Godmother glow – not enough to be overtly noticeable – but enough to make the magic feel real.
The ballroom is grandest of all, with columns, a balcony, and glowing golden chandeliers hanging from the ceiling.
Cinderella: compositions
Sergei Prokofiev’s compositions are brought to atmospheric life under the brilliant baton of Principal Conductor Jessica Gethin, and the talented West Australian Philharmonic Orchestra, whose aural capabilities carry the weight of every moment.
The highlight of the show – aside from every single Stepsisters moment – is when Cinderella and the Prince dance against a starry sky, evoking feelings of lightness, elevation and love.
This timeless tale follows the traditional plot, with a ballet shoe in place of a glass slipper. Cinderella encapsulates the spirit of the fairytale, with the added beauty of world-class ballet.
