- The Stage - https://www.thestage.co.uk -

Matthew Bourne’s Cinderella review at Sadler’s Wells, London – ‘spectacular’

Andrew Monaghan and Ashley Shaw in Matthew Bourne's Cinderella at Sadler's Wells. London. Photo: Tristram Kenton

Set in 1940 in London and combining Hollywood glitz with wartime drab, this Blitz-era ballet is steeped in tenebrous nostalgia and inspired by British movies like A Matter of Life and Death and Waterloo Bridge.

Mousy and bespectacled, Cinders dotes on her father whenever she is not being harassed by her stepmother and extended family of three stepbrothers and two stepsisters. Too many characters threaten to spoil the plot.

Premiered 20 years ago, Bourne’s conceptually brilliant ballet has undergone some reworking to tighten up the story. Swing and jive happily co-exists with neo-classical ballet and it is stuffed with invention – like the mini-Conga involving Cinderella and five servicemen and Cinders’ duet with a tailor’s dummy that evolves into a stiff-limbed airman.

Matthew Bourne: ‘You can always do better and find new ways to be creative’ [1]

Design-wise this could be Lez Brotherston’s finest hour as the sets shift from monochrome domestic interiors to glittering dance hall and on to the London Underground and the Thames Embankment. The piece de resistance is Act II’s bombing of the Cafe de Paris as the set reconstructs itself, reversing the destruction like a rewinding movie and the dead rise to dance again. It is ironic that the most spectacular act should also prove the least satisfactory as it is here that the narrative trips over the characters and falls flat.

Locating the elements of romantic doom within Prokofiev’s score, Bourne invokes a society dancing on the edge of a precipice. Michela Meazza vamps it up mercilessly as the Stepmother, channelling Joan Crawford through Cruella de Vil, while Ashley Shaw brings an alluring vulnerability to Cinderella whether fending off a creepy foot fetishist stepbrother or clinging in post-coital surrender to the wounded pilot Harry (the Damian Lewis-like Andrew Monaghan).

Introduced by the white satin-suited fairy godfather her entrance down the staircase of the Cafe de Paris is Ginger Rogers/Eleanor Parker glamorous. Evocative, spectacular and very, very loud, this is Bourne at his most Barnum-like.

Lez Brotherston: ‘We are retelling The Red Shoes in our own way’ [2]

Verdict
The triumphant return of Matthew Bourne’s radical retelling of Cinderella

Production

Production
Matthew Bourne’s Cinderella
Venue
Sadler's Wells
City
London
Starts
December 9, 2017
Ends
January 27, 2018
Press night
December 19, 2017
Composer
Sergei Prokofiev
Director
Matthew Bourne
Choreographer
Matthew Bourne
Set
Lez Brotherston
Lighting
Neil Austin
Sound
Paul Groothuis
Technical
Simon Lacey (company manager)
Stage manager
Heather Wilson
Cast includes
Ashley Shaw, Andrew Monaghan, Liam Mower, Michela Meazza, Stephanie Billers, Nicole Kabera, Jackson Fisch, Dan Wright
Producer
New Adventures
Running time
2hrs 30mins