ENB Cinderella reviews ENB Cinders Performances Interview with Tom and Agnes

The Oxford Apollo is rather cramped as theatres go, though I like the Art Deco interior in its bright red, blue and gold. But its the last word in customer care it seems, as the Chairman says in his lengthy introduction in the programme. The Apollo group chairman has personally initiated a care program called Entertainment Excellence... Of course it's just words and if anything the queues to achieve what you need - be it to pick up tickets, get ice creams or drinks - are longer here than elsewhere. But I'm sure it looks good in the Annual Report to shareholders!

The ENB Cinderella is by Michael Corder with handsome designs by David Walker. Walker also designed the Royal Ballet's Cinderella and the Dream and is widely regarded as one of the best designers we have. He never seems to overdo things and always leaves lots of room for dance and for the eye to see the dancers.

Corder's plot is rather different from the Ashton Royal Ballet version, in which he danced, and it owes rather more to the original story. In particular there is a stepmother and the stepsisters are played by young ballerinas, though obviously they retain their ugly personalities. The last act also features some national dances (just like all the classics!) masquerading as the Prince's dream. I'm not sure if this adds a lot to the plot but the music is nice and overall the choreography seems to do the business. The only thing I would criticise is that the corps seems to have been split into stars (white tutus) and ball goers (lovely deep blue ball gowns). Unfortunately the stars come off worse at times and there does not seem to be enough of them to cover the stage as you might wish. It leaves you feeling that the company is perhaps smaller and more hard-pressed than it really is.

Agnes Oaks was Cinderella and was duly put upon and in love by turns. Thomas Edur (Agnes's real-life husband) was her Prince. He is so good at Princes its almost unbelievable. He just looks the part totally and there is not even the merest hint of embarrassment at what princes do and how right it is for them to do it. Total conviction and you just have to believe.

The fairy seasons featured Tamara Rojo as Autumn though Yat Sen Chang as her cavalier is not really designed for partnering. Daria Klimentova also looked particularly good as the Summer Fairy. In general the Fairy variations feature difficult partnering and are a very pleasant contrast to the Ashton solos. Christopher Hampson was the Dancing Master, a much fuller role than in Ashton's production and a role with some character and comedy for Hampson to enjoy. Elisabeth Miegge also seemed to be enjoying the Tall Stepsister and has the making of a good comedienne.

The audience seemed to enjoy it and I for one had something of a lesson in how one looks at ballet. It was the third act and I was casting a critical eye over the stars as they did some difficult balances and poses. I was thinking "not bad, but it needs to tighten up" etc when the gentleman two seats along said the only thing he said all night to his wife - "Beautiful" was the single word and he was obviously more than a little transfixed. For all the fine analysis, it's happy bums on seats that count and the theatre was totally full - all come to see a great company who were led out by some of the finest of international dancers.

Finally it goes without saying that the Prokofiev score is just divine; rather better than the Romeo and Juliet I think. What's more the ENB orchestra played it particularly well and even have a fully working brass section - ROH orchestra take note!

The ENB Cinderella can be seen in Liverpool, Southhampton, Manchester, and Bristol over the next few Weeks. Bring up the details using the links at the top.