Review: CINDERELLA with Ballet Arkansas at Robinson Center

Now celebrating its 47th season, Ballet Arkansas continues to affirm its role as a cornerstone of Arkansas’s cultural landscape, blending classical tradition with bold artistic innovation. This commitment was magnificently realized with the World Premiere production of Cinderella at Robinson Center, presented February 20–22 and choreographed by Executive and Artistic Director Michael Fothergill. For me, the evening carried an extra element of excitement, because Cinderella was my favorite movie when I was a young girl. Hearing that Ballet Arkansas was creating its own original production instantly delighted my inner child, and what unfolded onstage honored that childhood wonder while delivering a sophisticated and fully realized work of theatrical dance.

Set to Sergei Prokofiev’s sweeping and emotionally layered score with Libretto by Nikolai Volkov, Cinderella tells the timeless story of a young woman whose kindness and resilience guide her beyond hardship toward transformation and love. Fothergill approached the ballet not simply as a retelling of a familiar fairytale, but as an opportunity to craft an original artistic statement for Arkansas audiences. His choreography revealed deep respect for classical vocabulary while embracing theatrical clarity, allowing character development and emotional nuance to flourish alongside technical excellence.

Because principal casting rotated throughout the weekend, each performance offered a distinct interpretation of the beloved story. At the Saturday matinee I attended, Meredith Loy embodied Cinderella with lyrical grace and emotional sincerity. Her movement quality was fluid and expressive, capturing both vulnerability and quiet strength. Loy’s phrasing felt organically connected to the music, and her transformation from overlooked daughter to radiant heroine unfolded with poetic subtlety.

Opposite her, William Heide brought noble presence and assured technique to the Prince. His classical lines were refined, and his attentive partnering created an atmosphere of genuine romantic connection, particularly in the sweeping ballroom pas de deux. Together, Loy and Heide crafted moments of suspended time with passages where music and movement intertwined with breathtaking elegance.

As the Fairy Godmother, Murray McCormack radiated authority and enchantment. McCormack’s commanding yet compassionate presence anchored the ballet’s magical elements, guiding the narrative with luminous control. Each gesture carried intention, reinforcing the idea that transformation is both mystical and deeply human.

The domestic scenes provided vibrant theatrical contrast. Deanna Stanton’s Stepmother projected formidable dramatic presence, heightening the emotional tension within Cinderella’s household. The stepsisters, Kerridwyn Schanck (Drizella) and Sage Feldges (Anastasia), nearly stole the show with their outrageous antics. Their physical comedy and exaggerated expressions had the entire audience laughing throughout their scenes. Every eye roll, dramatic stumble, and perfectly timed reaction landed with precision. Balancing humor with impressive technical discipline, they proved that comedic ballet requires as much control and artistry as classical refinement. Their scenes brought a delightful buoyancy to the production while sharpening the emotional stakes of Cinderella’s eventual triumph.

Providing subtle emotional grounding, Colin J. Neel as Cinderella’s Father conveyed quiet internal conflict and understated tenderness. His performance added dimension to a role often overlooked, reinforcing the humanity that underpins the fairytale’s grandeur.

Visually, the production unfolded with cinematic scale. Lavish costumes, imaginative scenic design, and thoughtfully sculpted lighting transported audiences seamlessly from humble domestic quarters to the glittering opulence of the royal court. Each design element worked in cohesive harmony, elevating the ballet into a fantastical theatrical experience.

The corps de ballet performed with impressive unity and musical sensitivity, lending grandeur to ensemble passages while maintaining crisp technical clarity. Fothergill’s choreography for the ballroom sequences in particular displayed architectural precision, intricate patterns of movement that filled the stage with regal sophistication. Yet even amid spectacle, storytelling remained paramount.

One of the most inspiring elements of this world premiere was Ballet Arkansas’s continued commitment to community engagement. By integrating a community cast alongside professional company artists, the company reinforced its belief that ballet thrives when accessibility and excellence coexist. The result was a palpable sense of shared pride inside Robinson Center. 

In its 47th season, Ballet Arkansas reminds us that magic is not confined to storybooks. Elegant, imaginative, and emotionally resonant, this world premiere stands as a triumph for the company and for Arkansas’s cultural community.

Taking the stage in April, Ballet Arkansas will bring ICONS OF AMERICAN DANCE and THE ARKANSAS PREMIERE OF GISELLE to Arkansas Museum of Fine Arts. For more information and tickets, visit their website at balletarkansas.org.

Deanna Stanton, 13th Season, Sponsored by Charles and Ginny Moulton

Meredith Short Loy, 11th Season, Community Cast Rehearsal Director, Sponsored by Drs. Monica Lo and Daniel Sherbet

Leah Norwine, 7th Season, Sponsored by Megan Hall

Aldrin Vendt, 7th Season, Community Cast Rehearsal Director, Sponsored by Clark Trim and Henrik Thostrup 

Lauren Yordanich, 7th Season, Sponsored by The Mathews Family

Brittany Harano Dowdy, 5th Season, Sponsored by Robert and Rachelle Maass

Kerridwyn Schanck, 4th Season, Sponsored by Elizabeth Michael

Layla Terrell, 4th Season, Sponsored by Dr. Edward and Mrs. Jeanne Anson

Sage Feldges, 4th Season, Community Cast Rehearsal Director, Sponsored by Robert and Amanda O'Neal

Keith Newman, 4th Season, Community Cast Rehearsal Director, Sponsored by Dr. Alan and Mrs. Amber Bagley

Murray McCormack, 3rd Season, Sponsored by Justin Bank

William Heide, 2nd Season, Sponsored by Robert and Amanda O'Neal

Benjamin Piner, 2nd Season, Drs. Ann and Ashay Patel

McKenna Ulbrick, 1st Season, Sponsored by Eric and Amy Wolf

Allen Sizemore, 1st Season, Sponsored by Dr. Julie Robinson 

Claire Churchill, 1st Season, Sponsored by Dr. Angela and Kevin Rowe 

Liev Ewart, 1st Season, Sponsored by Suzanne and Dr. Earl Babbie