Ruby Corrigan

Traditional, confusing, boring. These are three words that can spring to mind when thinking about attending the ballet, and while I have danced all my life, I have always felt the same way. The world of ballet can seem very closed off and is often put on a pedestal that is only reachable if you fit the upper class, ‘old money’ demographic. However, The Royal Ballet (in collaboration with the Royal Opera House) is trying to change this.

On April 13, I viewed a live screening of Frederick Ashton’s 75-year-old adaptation of the iconic ballet Cinderella from the comfort of my local cinema, all thanks to The Royal Opera House’s ‘Cinema Season’. To say it rewired how I view ballet as an art form would be an understatement. As mentioned previously, I have danced ballet all of my life, however I could never see myself sitting down and watching one simply as an audience member; frankly I did not know how I would cope watching a nearly three hour-long show with no dialogue in it at all. Yet, the company’s magical and fresh adaption proved me wrong entirely through a perfect mix of nostalgia, warmth and modernity.

As the curtains opened and Sergei Profokiev’s renowned score filled the auditorium I instantly knew I was in for a treat. While there were no changes to the music itself, Jonathan Lo’s dynamic conducting skills sent a tingle of excitement into the air, transforming the 75-year-old score into an energetic collection of music that easily could have been written today. Wendy Ellis Somes and Gary Avis’ staging of the performance was also phenomenal. The pair had the ability to bring new life into the original work of Frederick Ashton and create scenes that could have you stifling laughter but equally moved to tears. A welcomed change to the ballet was the loss of the ‘Grand Ball’. Gone was the tired usage of a masquerade, and in its place was a lush garden party as the backdrop to Cinderella’s love story.

The work of Tom Pye and Alexandra Byrne as the set and costume designers must also be commended. Pye’s creation of a very stripped back set intertwined with natural features such as flowers and oversized plants propelled this ballet into the modern day. Byrne’s costume design accompanied this perfectly. Although certain traditional elements of costume were maintained, such as Cinderella’s ragged clothes in the first act and the Fairy Godmother’s petite wings and heavily jewelled tutu, having a clear differentiation in both the designs, colours and silhouettes of the costumes belonging to the fairies of the seasons added a layer of depth to their characters, making for a far more enjoyable performance.

However, what amazed me most while watching this ballet were the performances by Marianela Nuñez and Vadim Muntagirov in the roles of Cinderella and The Prince. When considering ballet, it is hard to believe that a person would be able to perform the steps to such perfection as well as portray a character vividly. These two dancers defy this. While there were no words spoken between the pair, I understood every interaction they had, and the connection they shared was exhilarating. Whether it was falling in love just before midnight at the garden party, mourning the loss of one another after Cinderella fled the scene or rejoicing in their reunion, the dancers’ faces and body language expressed it all; it was truly a joy to witness.

Never in a million years did I think that as an 18 year old I would be able to sit and enjoy a ballet. But, after that performance, I’d happily watch another.

Ruby Corrigan is a Culture writer for The Scoop and an English student at Queen’s University Belfast

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