Review: CINDERELLA, Royal Albert Hall

It’s exactly four years since English National Ballet brought Christopher Wheeldon’s Cinderella to the Royal Albert Hall. It sat happily in my memory, from 2019, as a visual spectacle; the opulent ball scene, those slapstick sisters and Julian Crouch’s fantastical designs. Now it returns, these elements still intact. However the central choreography still feels weak, meaning the Principals do not dazzle as they always should, however the immersive experience of the Albert Hall and the charm of the corps still hold vast appeal. 

As ever, the story is lucidly told. Everyone knows the tale but the early scene setting with a demure young Cinderella (Millicent Honour) before she is replaced by Erina Takahashi’s adult version is smoothly incorporated. Natasha Katz’s lighting is eerie and atmospheric, the action is also moved along by the darkly dressed Fates who double as Cinderella’s guardians and stagehands to keep everything flowing.

The following scene in the Royal Palace which introduces the young Prince and his friend, Benjamin, makes sense but the shift from Cinderella’s tragic mother to the childishly depicted regal characters is all bawdy humour and clumsy physical gags (a busty Madame and a broken vase) which don’t enhance the story. 

Scene set and there is much to relish. The goofy Stepsisters are masterfully played, Katja Khaniukova (sweetly dippy with a big heart - how she jumps en pointe mid tantrum without breaking an ankle, I’m not sure) and Fernanda Oliviera (inherently mean and stompy) make what could be interchangeable roles distinctive and nuanced. Small in stature but big in character is Sarah Kundi as the ice cool Stepmother. Formidable and without emotion in both expression and movement she’s a standout here. Later, she delivers the tipsy pas de deux with confident comic timing that gets the biggest laugh of the night. 

Back at the Palace, the Prince’s friend Benjamin, is played joyfully with great flair by Ken Saruhashi who has a ripping time soaring around the circular stage in his flashy solos. 

What of the main pair, then? Erina Takahashi, replaces an injured Emma Hawes on opening night. The company’s most tenured Principal is technically sharp as always. She is convincingly mournful and modest in the early scenes, her face etched with grief, the audience cannot help but empathise and warm to her. However, in the ball scene she does not radiate the sparkling happiness and the adrenaline rush that should come with falling in love with her Prince. She is controlled but remains a little disconnected from Francesco Gabriele Frola, who, in turn, looks at her but the eye contact and chemistry sadly does not materialise. 

This aside, in a production of this scale and depth, there is so much else to savour. The seasonal spirits in their glittering outfits, offer opportunities for other company members to shine. The speed and agility of Rhys Antoni Yeomans in Autumn stands out a mile, while Angela Wood and Natasha Meir do an elegant job leading the icy Winter scene.

Meanwhile, as the spirits lead Cinderella to the ball, the production really hits its stride. The most recognisable part of Prokofiev’s score broods quietly initially as all the components of Cinderella’s carriage float into existence before it builds to a goose bump inducing moment where she emerges in her glittering ball gown, complete with mask, and is whisked away almost invisibly by her magical companions. It’s unfailingly captivating.

Crouch’s designs are at their most wild here, the terrifying oversized gnome heads and birds with intimidatingly large beaks fill the stage. The masks of the gnomes are so big, they nearly fail to get down the Albert Hall aisles as swiftly as required which is unintentionally hilarious. 

The ball scene is the strongest of the production. Midnight blue costumes and swishing skirts circulate, swaying gently to the macabre score and time ticks away. Cinderella and her Prince are finally granted the stage to themselves, but the choreography never soars to the desired heights. 

Of course, the tale ends happily, there is romance for Sister Clementine and Benjamin, and Cinderella marries her Prince. The Dior-like glamour of the corps' white wedding outfits are eye catching and stylish in a satisfying final scene. 

Wheeldon’s production adapts well overall to the challenges of the Royal Albert Hall. Cinderella is worth catching as a sumptuous visual treat. Go for the beautiful dancing, the costumes and the score, and it’s easy to turn a blind eye to the dated humour and the occasionally lacking choreography. The run features exciting debuts from more junior company members including Precious Adams and Ivana Bueno in the leading role, and for fans of the company, these are sure to make an impression. 

Cinderella is at the Royal Albert Hall until 25 June

Image Credit: ASH

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