Theatre Royal, Glasgow, 14 December 2010, and touring

EVERY YEAR Ashley Page and Anthony McDonald, Scottish Ballet’s joint Santa Claus, delve into their sack of presents. This year’s festive treat for dance lovers is Cinderella, a revival of their 2005 production which set it in a world of its own, a colourful (con)fusion of pre-revolutionary France, 1930s Hollywood and Absolutely Fabulous.

Fiesta colours, Swarowski crystals instead of tinsel, a Mongolfier-ish pumpkin balloon instead of a golden coach, a glamorous Joan Crawford stepmother, two Ugly Sisters channelling Edina Monsoon, and nary a drag queen or a Buttons in sight.

The Company in Ashley Page’s Cinderella (photograph by Bill Cooper, copyright Scottish Ballet))

After an affecting prologue, Act 1 starts off in rather too much confusion, making it difficult to follow the slightly unfamilar story – no pawky panto or saccharine Disney inspiration here. Page & McDonald have delved deep into original versions and folk tales, bringing back darker elements which throw the love story into sharp relief.
Once Sophie Martin’s Cinderella has been stripped of her finery and left alone in the kitchen, though, the sheer quality of her dancing and Page’s choreography grabs the attention and holds it firmly to the end of the show. Her solos, particularly the bravura solo in Act 2, flow in that unhurried, time-to-spare, fashion that is the hallmark both of fine dancers and fine athletes.

The four Seasons (Tomomi Sato, Bethany Kingsley-Gardner, Martina Forioso and Luciana Ravizzi) are pleasing, with Sato’s enchanting Spring and Forioso’s stormy Autumn being particularly memorable. Erik Cavallari’s spirited Prince and his Chevaliers (Tama Barry, Jonathan Savage, Adam Blyde, and Christopher Harrison) complement their respective partners beautifully while Eve Mutso’s stylishly danced (and acted) Stepmother, Owen Thorne’s sad alchoholic Father, Kara McLaughlin’s gangling Stepsister, and Luke Ahmet’s fawning equerry deliver nicely judged performances.

Erik Cavallari as the Prince and Sophie Martin as Cinderella in Ashley Page’s Cinderella (photograph by Andrew Ross, copyright Scottish Ballet).

Underpinning the lavishly lovely costumes, stylish sets and imaginative lighting, the driving force and strength of the production is Page’s meticulous, challenging choreography for which, finally, his dancers are a match; Alice his entirely new production this Spring, will be eagerly anticipated as a result.

Meanwhile, as the company continues its upward trajectory towards being a contender on the demanding international circuit, its board’s reported reluctance to renew Page’s contract for longer than a year becomes ever more incomprehensible, and regrettable.

Cinderella can be seen at His Majesty’s Theatre, Aberdeen, 19-22 January 2011, and Eden Court Theatre, 26-29 January 2011.

© Jennie Macfie, 2010

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