A night at the ballet

By Kim O'Connor

It is hard to miss the intentions behind this production of Cinderella: update the classic tale for a modern audience and, hey, why not throw in some neon costumes just for the hell of it.

The story is set in 18th Century France and poor old Cinders finds herself slaving away for a hussy of a stepmother while her father drinks himself into oblivion. The glass slippers have been replaced by ballet shoes, but that’s not the only twist in this performance.

Most of the set and costumes capture the opulence of the period, but the decision to add bizarre props such as a refrigerator and a giant orange on wheels remains a mysterious one.

The production apparently references Warhol and Vivienne Westwood as well as the lavish 18th Century period, although the thread connecting these contrasting styles to the story of Cinderella is, at the very least, tenuous. Add to that mix an unhealthy dose of garish neon and some fetching leopard print tailcoats and the whole thing becomes distinctly messy.

It is a shame that the production design provokes such a reaction, because the dancers’ performances and accompanying orchestra are technically brilliant. The clash of styles is, though, echoed in a continual clash of performers: the romantic relationship that develops between the Prince and Cinderella is overshadowed by the presence of other dancers on stage and not enough of the performance is devoted to these two characters.

The timeless tale becomes Cinderella in Wonderland, complete with a company of misfits and a handful of crazy props. An innovative production it may be, but one that loses the harmony that gives ballet its distinct appeal.