[Review] Cinderella in-the-round – English National Ballet’s heightened storytelling

“Cinderella is not the victim and drudge she's often portrayed as being; I see her as more in control.” – Christopher Wheeldon

It's always of interest when someone brings something new to the table – or the ballet genre. Cinderella we know (excuse the sweeping statement) – the fairytale premise and the sanitised versions available through numerous creative outlets. In London, balletically speaking, we've grown up with Frederick Ashton's 1948 version with its many different production variations, most recently in March of this year. So what does Wheeldon bring to the party?

His production was originally a collaboration between Dutch National Ballet (2012) and San Francisco Ballet (2013), and the two opening night Cinderellas were Anna Tsygankova and Maria Kochetkova respectfully, and that is already an interesting concept – a choreographer working with two dancers/muses simultaneously. Did this bring added depth to the completed role? Or a multiple personality disorder issue?

Both of these productions were staged for the proscenium, and this is where we see the biggest shift for the English National Ballet version (2019) with Wheeldon taking his Cinderella and applying it to their existing in-the-round method at London's Royal Albert Hall, which was first seen in Derek Deane's Swan Lake in 1997. I saw the 2019 Cinderella run and still have some pointed memories – plastic breasts and oversized animal heads – but otherwise feel like I'm seeing the choreography anew… post-pandemic brain fog?

The divine Emma Hawes was meant to open the run as the “in control” Cinderella but didn't due to injury, and the season also included the much-talked-about premiere of Precious Adams in the same role. I went along to the later premiere of Ivana Bueno, who's still a First Artist – the top tier of the corps de ballet – and has only been a company member since 2018. I've noticed her fresh and infectious dancing in the company's Forsythe work to date, and her current casting suggests that I'm not alone in this.

A conversation pre-show got me thinking about ‘art as entertainment' and ‘entertainment as art', and this big – as in philosophical – subject informed the way I wanted to experience the performance… and I wonder if it should do so more often. Who is this show for? And is it working? Ballet for the masses rather than a niche audience? Can both parties be sedated? Or will one always lose out to the other? Is Wheeldon the bridge of hope? Are the plastic breasts floating devices?

I was engaged and impressed throughout, and at moments emotionally engrossed. Wheeldon has definitely brought something to the Cinderella party – heightened storytelling and naturalism.

Act 1 offers context we don't find elsewhere – Wheeldon introduces the Prince as a young boy and young man, with the adult version giving insight into who the Prince is as a person, where his ethics lay, and basically allowing us to understand why anyone would fall in love with him. He's kind, passionate, and open. Aitor Arrieta as the Prince is all this and more, moving through the vast space of the Royal Albert Hall with such openness in his dancing that he's impossible to resist throughout.

Ivana Bueno as Cinderella is in the same league, though her characterisation takes a little longer to find the right level of expression to fill the space. By Act 2 it's absolutely there. She has stunningly natural port de bras, luxurious lower leg work, and vivid projection through the eyes. I'd enjoy seeing that projective presence a little more through the whole body at times – some arabesque moments feel a little too internal.

Act 1 is also what you'd expect with lots of stepsisters' airtime. This was performed very well by a hyperbolic Fernanda Oliveira and downtrodden, sweet Katja Khaniukova… but how long can one watch basically the same thing – tussle and bickering. All Cinderella productions I know suffer from this same fate. Perhaps it's just something we have to accept.

The Seasons have strengths and weaknesses. There's lots of dancing for your dollar, but large amounts could be described as superficial. Ashton uses solos to convey the essence of the seasons – extreme heat through fondre à la fatigue, and ice cold with staccato slicing – whereas Wheeldon chooses large groups of Spirits, all perpetual movement and patterning. Spring and Summer passed me by with little impact, but Autumn and Winter offer more focused, choreographic themes.

The ballroom scene of Act 2 is very skilled both choreographically and structurally. The movement language is suggestive rather than academic (more later), and the use of the large, extremely well-rehearsed corps de ballet makes you feel like you're at the actual ball. Lines sway atmospherically, allowing only glimpses of Cinderella and the Prince as their love story begins. It's all very in the moment and real. And how well the corps danced – large movement-wise but tight spatially. Group work at the Royal Albert Hall is a delicate balance with 360-degree visuals.

The grand pas de deux is, again, less about academic language and structuring and more about storytelling – and it works. Wheeldon choreographs how love feels. He flips between big expressive phrases and small, intimate moments for the couple. They also seem to spend a lot more time facing each other than the traditional man behind the ballerina setup and this supports the naturalistic approach no end.

I kept musing over how well the production works in the round, which is bizarre as it's the only English National Ballet production for the Royal Albert Hall that wasn't originally choreographed for the Royal Albert Hall. Go figure. But further major kudos to Wheeldon.

One can't expect traditional sets in this space, so Julian Crouch uses a solid backdrop with doors that also acts as a larger-than-life projection screen, which is a strong, creative move. Especially as the projections, by Daniel Brodie, enhance scenes rather than detract from them. We also see billowing drapes fall a number of times when the Prokofiev score swells as only Prokofiev can. And the orchestra under the baton of Gavin Sutherland (the ENB's Music Director), brought new life to the diverse score as I've never heard before, as it swirled in the acoustics of the Royal Albert Hall – especially Act 2.

Nothing is infallible though, and there are elements I'd perhaps question… or cut. I understand Wheeldon is taking a more nature-based approach to the magic of the story, but the random birds, conkers and forest characters in Act 1 feel a little OTT and unnecessary.

However, I appreciate his addition of the Fates who replace the Fairy Godmother – four characters who never leave Cinderella's side, through the highs and lows. They work as her conscience, life's spiritual unfolding and physical supports, to help her travel through her journey – emotionally and spatially. There's a truly powerful moment as Cinderella dances in Act 2 – the Fates leave her side and retreat to the back of the dark stage and sit, but never take their eyes off her throughout. A simple, choreographic decision that makes for very powerful storytelling.

Fundamentally Wheeldon is a classical ballet trained choreographer, therefore his movement language undoubtedly uses the aesthetics and components that make up the danse d'école. But you don't see a huge amount of recognisable, formulaic academic steps or conventional partnering structures underpinning his choreographic style. And he additionally includes floorwork, which is much more contemporary than traditional. These traits aren't exclusively good news though, as at times I wish things were a little less manic – for example, perhaps don't add another movement theme already, but develop the one that was just introduced. And did that floorwork passage really add to the depth of the character doing it? However, what it all does allow for, is more realism in the execution and connectivity of the roles. This isn't just another Cinderella and Prince situation, these are two young people falling in love, who just happen to be expressing it through the medium of (nontraditional) ballet.

So, in the end, I'd say I was a witness to entertaining art. Some of the audience exclusively go to performances at the Royal Albert Hall because they prefer the overall experience of the in-the-round, interactive method to that of the proscenium. And if they happen to see this level of ballet production by default, we shouldn't have an issue with this within the sector. We know that commercial successes allow for less commercial triple bills to happen, where the hardcore balletomanes and dancers can continue to get their pedigree fix (#seeyouthere).

Life needs balance, and so does ballet, but to be clear – Wheeldon's Cinderella absolutely doesn't feel like a poor imitation. In fact, it's more a game changer than anything else. Though the plastic breasts need to leave the party ASAP.

Matthew Paluch( Guest Author )

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers' Teaching Diploma in 2007, and was fomerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011 and has been a freelance writer since 2010. He is a Trustee (2021) of the Royal Academy of Dance and works in the Law Sector.