Review: THE WASHINGTON BALLET'S CINDERELLA at The National Theatre

The story of Cinderella is a classic known and beloved across the world for its rags-to-riches plot. Over the years, Charles Perrault’s 17th-century tale has taken many forms –  films, various literary iterations, stage plays – but none more exquisite than Sergei Prokofiev’s Cinderella, Op. 87 ballet. Edwaard Liang’s rendition of the fairy tale at the Washington Ballet is nothing short of a revelation, packed with entrancing choreography throughout all three acts. Here, a classic tale is reinvented to somehow exude even more elegance. 

Although Cinderella originates in European folklore dating back long before its modern adaptation, the most widely recognized version (inspiring the Disney film) is that of French author Charles Perrault. On the darker side, The Brothers Grimm infamously penned a 19th-century version, omitting the fairy godmother, opting instead for the forest aiding Cinderella’s endeavors. Nicolai Volkov’s Libretto for Prokofiev’s ballet seems to intertwine the two, maintaining the levity of Perrault’s while incorporating Grimm’s forest focus. 

As for the ballet itself, Prokofiev composed the soaringly sharp score in the early 1940s, utilizing a series of distinct motifs to uniquely define each aspect of the story. Prokofiev’s Cinderella received its premiere at the Bolshoi in Moscow in 1945 and has been consistently reimagined by luminaries ever since. Whether it be Frederick Ashton taking on a stepsister role himself, or Rudolf Nureyev’s setting in the Golden Age of Hollywood – this ballet is forever evolving. 

Edwaard Liang’s development, performed by the Washington Ballet, is nothing short of refinement embodied. Liang first created his version for BalletMet in 2015, yet it feels entirely invigorated anew in this production at D.C.’s National Theatre. James Kronzer’s set design works in tandem with Jack Mehler’s lighting to promptly delineate between the magical, transformative space of the forest and the cruel realism of Cinderella’s destitute household. 

Concurrently, Liang’s reimagining centers on resilience, opening with Cinderella recounting the trauma of her own childhood as an observer in the magical woods. For a stunning moment, she meets her younger self, pondering possibilities. From there, the magical fairy tale commences as the Fairy Godmother enlists the flora and fauna of the forest to help Cinderella prepare for the Prince’s ball. Complete with sophisticated, excruciatingly beautiful pas de deux, a spectacular corps de ballet, and captivating costumes (Judanna Lynn) – Cinderella at the Washington Ballet is ravishing. 

Whether it’s a glass slipper or a glass ballet shoe, the heart of Cinderella will always be cherished in any format. The elegance of ballet as a vehicle for this story in particular enhances its effect in a way that never felt possible. Cinderella at the Washington Ballet is a stunningly performed masterclass in storytelling. Whether it’s the stunning choreography, stirring orchestrations, or simply the adorable young bumblebees, the two-hour experience is sure to leave a lasting impression. 

Running Time: Approximately 2 hours with two intermissions.

Cinderella runs through May 10th, 2026 at The National Theatre, 1321 Pennsylvania Ave NW, Washington, DC.  

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