© Damir Yusupov Bolshoi 'Cinderella' reviews 'Cinderella' reviews Zakharova in reviews Filin in reviews recent Bolshoi reviews more Oksana Khadarina reviews Discuss this review (Open for at least 6 months)

The Bolshoi’s illustrious classical style of ballet had been shaped by works of Yuri Grigorovich, artistic director and choreographer-in-chief for more than 30 years until the mid-1990s. Upon taking the helm, Ratmansky determined to open the doors of the company’s repertoire to a variety of stylistic approaches, including works by George Balanchine, Leonid Massine, Twyla Tharp, Christopher Wheeldon and other prominent choreographers.

Ratmansky knew he was taking a risk last year when he asked Yuri Possokhov to create a full-length version of Cinderella for the Bolshoi. Possokhov, a star dancer with the San Francisco Ballet, had retired from performing but remains with the company as resident choreographer. Although the 43-year-old Russian had a decade of choreographic experience creating dance for leading troupes, including the San Francisco Ballet, Cinderella was his first attempt at three-act classical ballet.

The U.S. premier of Possokhov’s Cinderella presented by the Bolshoi at the Kennedy Center Opera House proved Ratmansky’s risk was well taken.

“I wanted to create something the audience had never seen before,” said the choreographer about his approach to the new Cinderella. Indeed, the effect of the production was groundbreaking. Presented as an out-of-this-world fantasy instead of traditional fairy-tale ballet, Possokhov’s Cinderella is a brilliantly crafted story melding ballet and drama, and the old and new. This bold modern interpretation gives a fresh and very attractive look to the all-time classic.

Developing a story line, the creators bridged the Cinderella tale with a personal life drama of the ballet’s composer, Sergei Prokofiev. Inspired by the success of Romeo and Juliet, Prokofiev began working on his Cinderella score in 1940. He wanted to write “rich, bold music” to express “the poetic love of Cinderella and the Prince.” Composition of the score was interrupted by the Second World War, and completed only in 1945. During this time the composer was separated from his wife and two young sons. Inevitably, a sense of torment and melancholy resonate in his music. Possokhov pays homage to the composer, introducing him as one of the ballet’s main characters, the Storyteller.

The production’s magnificent sets, designed by Hans Dieter Schaal, are a triumph of minimalism, modernism and imagination. This phantasmagorical Cinderella is full of novelty and surprises.

The impressive opening scene reveals a galaxy of twinkling stars. A lone man sitting atop a rocky planet reads a manuscript of his story. He is the Storyteller (Victor Barykin). In this role he not only narrates the story but also appears to direct the course of events. A few moments later his housekeeper, a young girl named Ptashka (Russian for little bird) appears onstage. Intrigued by the story’s plot, she asks to participate and play the title role. Miraculously her wish is granted, and with sheer determination she enters the book... to appear in the kitchen as Cinderella, cleaning pots and pans and dealing with her arrogant stepmother (Maria Volodina) and the annoying stepsisters (Anastasia Vinokur and Lola Kochetkova). From then on the story unfolds in familiar fashion.

The decorations in the first act are a set of massive black boxes imaginatively framing a kitchen, a dance studio and an entrance for the fairies and their escorts. The invitations to the ball are delivered by a postman flying on his bicycle across the stage. A transparent tea set and a dusty broom come to life to help Cinderella with her chores.

 

The second act opens with a close-up image of the conductor, the exceptional Igor Dronov, projected live on a giant screen. (Although quite unusual, it was recognition rightly deserved. Through Dronov’s leadership, the Washington National Opera orchestra handled the Prokofiev score most beautifully—a stirring, highly expressive performance.) The ballroom of the second act is dominated by an expansive white marble staircase—an amusing entrance for the Prince and a charming way for him to meet Cinderella. This set also allows the dancers to demonstrate fancy stairs-inspired footwork.

The third-act staging had a few imperfections: a singer atop a grand piano, an enormous upside-down white chair purposelessly descending, and then ascending; and a giant swinging pendulum carrying the Storyteller. These were rather odd and without recognizable context as to be more distracting than appealing.

In retrospect, from a fairly relaxed start the story moves forward easily, gradually increasing vitality and then vibrantly taking off in the ballroom scene, never losing momentum.

The choreography is effective and original, featuring classical ballet steps spiced with modern flavor. Nevertheless, I would have liked to see a deeper characterization of the main personages. The duets of Cinderella and the Prince had an attractive poignancy, yet the choreography was neither strong nor sufficiently convincing to deliver a powerful emotional statement. On the other hand, the grand and dazzling ensemble dances of the ballroom scene showcased some of the best choreography of the ballet. The Prince’s space odyssey—to locate the owner of the lost slipper—was also memorable for its spectacular dancing.

On opening night, Svetlana Zakharova’s Cinderella evoked wide-eyed excitement. What a marvelous portrayal of the title character! Zakharova shone throughout the performance, making the role her own. Possokhov’s choreography gave her plenty of opportunity to demonstrate the flawless technical skills that brought out Zakharova’s beautiful, endless extensions and fluid, flexible arms. She is lovely and playful whether chasing unruly ravens with her broom, dancing with teacups and saucers, dreaming about the ball, or sneaking through the keyhole of the Prince’s palace, yet hesitating to enter. From the moment she slid into the Prince’s arms from the staircase balustrade, she was transformed into a glamorous young lady. Her Prince, Sergey Filin, has undeniable charm and a remarkable stage presence. He partnered Zakharova gallantly and in a most self-assured manner.

Ekaterina Shipulina and Andrey Merkuryev were the principal couple on the second night. Shipulina gave a rather subdued interpretation of her heroine. Zakharova’s Cinderella was full of life, beaming with exuberance and joy. In Shipulina’s version she was more a dreamer bringing out the tragic nature of the story.

Possokhov creates a truly contemporary Cinderella, an independent, free-spirited young woman who doesn’t rely on magic to change her life. Fearlessly entering the unknown, she trusts her instincts and takes destiny in her own hands. When she sees her Prince Charming she slides right into his arms. Perhaps she is the first Cinderella in history to openly rebel against abuses of her stepfamily. And at the end, she doesn’t need to fit the slipper—the Prince recognizes her at first sight. She is unforgettable. At last, Cinderella, welcome to the 21st century!