JADAR

★★★★★

The Lowry has once again delivered an unforgettable experience, and after this performance, I can confidently say it is my favourite theatre in the whole of the UK: every time I come here, I just know that I will see a performance I will remember forever. Sir David Bintley’s Cinderella, performed by Birmingham Royal Ballet, was no exception—this production was beyond magical. The sheer number of “wows” and gasps that rippled through the audience, the goosebumps on my skin, and the moments that had me tearing up all stood as proof of its brilliance.

The ballet opened with a poignant prologue: the first minute shows Cinderella and her stepsisters as children, gathered at Cinderella’s mother’s funeral in front of a graveyard. As Cinderella’s father attempts to comfort her, the stepmother pulls him away, foreshadowing the neglect and cruelty that will follow. The scene is brief, almost like a fleeting memory, with the figures appearing only as silhouettes, adding a haunting and deeply emotional start to the story.

From here, we are transported into Cinderella’s life of servitude, with John Macfarlane’s breathtaking set design creating a world so immersive that it could easily have been a film set. The kitchen, with its vast, rustic interior and shafts of light streaming through the windows, felt utterly real, grounding the fairytale in a tangible reality. The scenic sets were floor-to-ceiling breakaway ones, allowing for seamless transformations that heightened the magic of the production.

The arrival of the invitation to the ball brought a whirlwind of activity as the stepsisters and stepmother momentarily ceased their bullying. A flurry of make-up artists, wigmakers, hairdressers, and dance instructors flooded the stage, their frantic efforts to refine the sisters adding to the comic energy. Yet, it was Cinderella’s fairy godmother—initially appearing as an old beggar woman whom Cinderella shows kindness to—who performed the true transformation.

In one of the most visually enchanting moments, the fireplace, which had been crackling with real fire, opened up to reveal a passage into a dazzling fairyland. As dry ice poured from the hearth, the stage filled with an array of magical creatures: mice, lizards, a frog, and the fairies of the four seasons, all dancing in perfect synchrony before an enormous, gilded mirror. Then, in a moment of sheer theatrical spectacle, a host of dancers adorned in intricate, sparkling tutus and gowns filled the stage, their synchronised movements creating a hypnotic, dreamlike atmosphere. The scene concluded with Cinderella gracefully departing in her magnificent carriage, a vision of enchantment and transformation.

The second act was dedicated entirely to the grand ball, where Cinderella and the Prince, danced beautifully by Beatrice Parma and Enrique Bejarano Vidal, shared their fated encounter. While the first act had been packed with constant action and striking set transitions, the ball relied purely on the opulence of the setting and the elegance of the dancing. The stepsisters stole the show with their comedic performances, drawing riotous laughter from the audience with their exaggerated movements and shameless antics.

However, as the act progressed without major set or costume changes, the pacing risked becoming monotonous—until the clock struck midnight. This was one of the most spectacular moments in the entire production. A colossal clock materialised in the background as Prokofiev’s score transformed into ominous, relentless chimes. Cinderella, caught in the unravelling of her magical disguise, suddenly reappeared in her maiden’s rags, while the dancers around her moved in eerie, robotic precision, mimicking the ticking of the clock. Then, the entire auditorium was plunged into darkness. It was an utterly mesmerising, unforgettable sequence.

The final act followed the Prince’s quest to find the rightful owner of the glass slipper. The humour continued as countless hopefuls attempted to squeeze their feet into the shoe, each rejection adding to the growing pile of discarded footwear on stage. Back in Cinderella’s kitchen, she danced with her broomstick, lost in wistful memories of the ball. When her turn finally arrived, the fairytale’s inevitable conclusion played out with breathtaking beauty. As Cinderella and the Prince stepped into the enchanted fairyland once more, the backdrop began to rise slowly, revealing a golden sunrise that seemed to symbolise a new dawn, a fresh start for Cinderella.

The comedic brilliance of the stepsisters was, without a doubt, the highlight of the night. Eilis Small and Olivia Chang Clarke completely and unapologetically stole the show, their impeccable comedic timing heightened by choreography that perfectly “Mickey Moused” Prokofiev’s playful motifs. Their exaggerated physicality, clumsy attempts at grace, and expressive faces had the audience in stitches throughout. 

Prokofiev’s score, of course, was a masterpiece in its own right. His lush orchestration, sweeping melodies, and sudden shifts between grandeur and mischief gave the ballet its distinct character, effortlessly guiding the emotions of the audience. From the playful motifs accompanying the stepsisters’ buffoonery to the soaring, romantic waltzes of the ball, every note added depth to the storytelling.

The dancers’ professionalism shone through in every step, lift, and gesture, demonstrating not only technical brilliance but also a deep emotional connection to their roles. This production was a testament to the sheer artistry and discipline of the Birmingham Royal Ballet.

The production was designed by John Macfarlane, with lighting by Peter Teigen and original lighting by David Finn.

The costumes were, for the most part, stunning, though one design choice stood out as puzzling. While it was clear that the stepsisters’ outfits were meant to be garish and inappropriate for the ball—one adorned in an absurdly extravagant yellow gown with clownish make-up—the other’s costume felt strangely out of place. With stripy stockings reminiscent of the Wicked Witch of the East, a short black tutu, and a punk-style mohawk, her look felt disconnected from the rest of the production’s aesthetic.

Despite this minor quibble, Cinderella was an absolute triumph. With dazzling sets, exquisite choreography, and an unforgettable midnight scene, this production was nothing short of a magical masterpiece. 

Photo: Johan Persson