ABT Cinderella Review, July 2

What a great ABT debut from Marianela Nuñez in Cinderella Thursday. The Royal Ballet Principal Dancer performed with the company at Koch Theatre last week and stayed in New York for two ABT Cinderella performances, the next on Saturday evening (early curtain time of 7 pm for the July 4th Holiday). Her performance was magnificent as her radiant smile lit up the vast Metropolitan Opera House, which was packed in the orchestra section, standing room only. Her technique was outstanding, with nice pique turns in a circle, leaps, and lush extensions. However, what stands out with Marianela is the joy she expressed in her dancing with every movement transmitting emotion. What an expressive beaming smile that captivated the crowd. She clearly has performed this version many times at The Royal Ballet and it shows as she is a master in the role. I hope to see her again at ABT.

James Whiteside was The Prince. James looks the part of a prince, with impeccably groomed hair and beautiful line accentuated by his all white attire. He had an intense, concentrated demeanor as he pursued Cinderella when she first appeared in the ballroom. Despite limited rehearsal time, Marianela and James were very good in the ballroom pas de deux demonstrating a close bond. One of the difficult sections is a developpe in second position, shifting to an arabesque. In one performance last year, the dancer was off-balance and went off pointe. Marianela struggled somewhat in this section, but stayed on pointe with support from James.

Newly promoted Cassandra Trenary was the Spring Fairy with nice phrasing and quick head movements for accent. Isabella Boylston was solid as The Fairy Godmother with high leaps and beats. Gabe Stone Shayer was the Jester. He was fine but not particularly memorable.

Craig Salstein and Roman Zhurbin, two of ABT’s the most expressive and talented dramatic dancers, portrayed the ugly Step-Sisters. Roman was the elder bossy sister who, unfortunately for everyone around her, made a mockery of the ballroom dances. Craig was the younger step-sister who fell in love with the Prince and every other man she met at the ball. They both did a great job of dancing badly.

I love Ashton’s Cinderella, which had its ABT debut last year, an upgrade from the previous version. The costumes and sets are lush and lively. The ending is memorable and touching as Cinderella and The Prince walk with backs to the audience in the center of the stage into the golden light of happiness. Here is a nice video of The Royal Ballet with Alina Cojocaru and Johan Kobborg that captures many of the highlights of the production:

Ashton’s Cinderella, which was first performed by the Sadler’s Wells Ballet at the Royal Opera House, was his first full-length ballet and the first production in the West to use Prokofiev’s score. Prokofiev began the work in 1941, but because of World War II and his work on the opera War and Peace, was not finished until 1944.

When Ashton died in 1988, Royal Ballet dancer and original Prince, Michael Somes inherited the work. After his death, his wife and former Royal Ballet dancer Wendy Ellis Somes, who danced Cinderella and other supporting roles, inherited the ballet. She supervises production of the work, which was acquired by several American companies including ABT, Joffrey Ballet of Chicago, Ballet West, Boston Ballet, and Ballet West.

In Ashton’s version, there is no wicked stepmother. Cinderella’s mother died when she was young. Her good-hearted but weak father married again, but lost his second wife, leaving him with two daughters from a previous marriage, according to the program notes. The ugly step-sisters (played by men) terrorize Cinderella and her father by their reckless and clumsy behavior.

The bulk of the dancing is in Act I. Ashton created four solos in Act I, each representing the four seasons, supported by 12 corps dancers. There is a beautiful pas de deux, but not in the last act as is customary in full-length ballets.