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Using a plywood square supported by four legs, Viktor displayed most of his six dancers seated on the table at curtain rise, but not so many that a newcomer trying to join the gang on their perch, got shoved, landing on his backside. The fellows, David Fonnegra, Matthew Linzer and Edward Stegge, used the table for some skillful acrobatics, up, over, around and under. This set the tone, to which Viktor gave Tina Kay Bohnstedt a solo as acrobatically demanding as she is lyrical before she too tried to remain on that table with others crowding on. Someone wound up on the floor, but not before one was struck by the remarkable levels and other linear qualities impressed on one’s vision as contrast to the skills, foibles and fun of the six participants. Table it again, please!

Twin Nikolai’s truncated version included some voice overs padding out the musical cuts to Prokofiev’s score; with Rohnstedt as an expressive, spirited Cinderella, the rest of the company danced up an ensemble storm in scarlet costumes constructed by Mario Alonso with a suggestion of Roualt’s black lines in Jean-Francois Revon’s set design. Four pages were recruited from Diablo Ballet’s Apprentice Program with wonderful results, waving square red invitations, protecting Prince Matthew Linzer from the step sisters onslaught, keeping him and his attitude glasses on track. Haley Cabrera, Emily Liu, Irene Liu and Molly Mather acquitted themselves admirably.

The use of scarlet fabric seemed repetitive, but Alonso may well have found a bargain for this down scaled production. It seemed, however, that Stepsisters Edward Stegge, Jenkyns Pelaez, and Stepmother David Fonnegra received cookie cutter role structures; so also the Spanish, Japanese and Martian princesses vying for the myopic prince. Cynthia Sheppard, Mayo Sugano and Lauren Jonas, respectively, were given costume clues to character; dancing differentiation, however, remained on the shy side. Fairy Godmother Lauren Main de Lucia was asked to execute little more than pique arabesque, arms an haut.
 

The notable exceptions occurred in Cinderella’s opening solo, the halting discovery between her and the prince, passages where she was borne aloft, echoing the floating feeling of actually attending the ball. Linzer, a tall Juilliard graduate, impressive as the introverted prince, justified the giddiness.

The cast made the story line believable; tweaking and development, however, needs to occur. Clearly designed as an alternate to the successful Toy Shop for children, character development for the dancers could make this pint-sized version of Prokofiev very memorable indeed.

As a footnote, if anyone reads that Diablo Ballet will be performing nearby, hustle out and buy a ticket, if for the sole privilege of seeing Tina Kay Bohnstedt dance. She is moving sculpture with an articulation of body and spirit to match.