Cinderella is very much a children’s ballet, and they dominated the Opera House audience at the first performance of the current run. Frederick Ashton’s 1948 version of the fairytale re-tells the Cinders story clearly, with delicate choreography, colourful costumes, and Prokofiev’s wondrous score. He also draws on the English panto tradition, which adds further family appeal, especially in the Ugly Sisters who were originally created for Robert Helpmann and Ashton himself and are always danced by men.
As the gruesome twosome, Wayne Sleep and Luke Heydon stole every scene they were in. Alongside the garish make-up and extravagant costumes was insightful characterisation, such as when Sleep points to his ring finger when he meets the Prince.
Some argue that the Ugly Sisters play too large a part in Ashton’s Cinderella, and it’s true that he doesn’t give Cinders much to do in Act I. She also lacks a big duet with the Prince in Act III, although, admittedly, Prokofiev didn’t write music for one.
Saturday’s opening also suffered from a less than radiant Alina Cojocaru in the title role. Her dancing was, as you’d expect from the Royal’s top ballerina, pin perfect, but she lacked the joy you expect from the character.
However, Rupert Pennefather was a very noble Prince, Christopher Saunders was spot-on as her well-meaning but weak-willed father, and Laura Morera’s Fairy Godmother reminded you of the importance of good connections.
In rep until June 5. Information:
020 7304 4000. www.roh.org.uk
The Royal Ballet: Cinderella
Royal Opera House
Floral Street, WC2E 9DD
