THIS reworking of the David Bintley choreographed, John Macfarlane designed production of Cinderella, set to Sergei Prokofiev’s wonderfully evocative score, is a delight to both the eye and the ear. Thanks partially to money raised by last years Big Give Christmas Challenge, the sumptuous costumes (including those delightful frog and lizard heads) have been returned to their original splendour. We even have a magnificent crystal coach, seen all too briefly at the end of Act 1.
Not only the principles, Isabella Howard’s Fairy God Mother, Daria Stanciulecu’s Stepmother and Spring (Reina Fuchigami), Summer (Yuki Sugiura), Autumn (Amelia Thompson) Winter, (Rachele Pizzillo), are turned out in a dazzling array of costumes, but Ellis Small and Olivia Chang Clarke’s bullying stepsisters provide an ideal contrast, in costumes that would not be out of place in the annual pantomime. Showing excellent judgement, they all keep their characters strictly within the lines set out for them in the story, bringing elegance, drama and comedy to the roles as required.
While these beautiful pictures were being painted before our eyes, the full BRB Sinfonia, skillfully marshaled by conductor Paul Murphy, were using Prokofiev’s wonderfully character-rich score to create a musical picture of this well-loved, romantic story. Having recently heard a handful of musicians produce a loud blanket sound to accompany singers and dancers, it was a delight to listen to a full orchestra producing such a wide variety of delightful sounds which gave ideal backing to those on stage.
At the centre of that stage was Beatrice Parma’s Cinderella, delicate in appearance and movement, but displaying true inner strength. All the vulnerability of a girl left to fight her own battles (no Buttons was on display in this version of the story), but also an underlaying gritty determination to find love, romance and happiness. When, with Fairy Godmother’s help, she blossomed from drab kitchen maid to beautiful princess, a handsome prince was needed as an escort, and Enrique Bejarano Vidal provided an ideal partner. Dashingly handsome, with that touch of the arrogance found in those born to rule, Enrique was suitably bowled over by this mysterious unknown princess, expressing it in his frantic efforts to find the lady after her sudden disappearance.
Their partnership was full of romance and love, rather than violent drama, displaying a deep understanding not only of the story, but also of Prokofiev’s musical interpretation. As they walked away upstage with the music gently fading away, it was reminiscent of one of those old Hollywood musicals. The big difference was that there had been nothing phoney or insincere in this beautifully-staged version of one of the world’s true love stories.
The production can be seen at Plymouth’s Theatre Royal between 9th and 12th April.
GRP