Christopher Wheeldon’s Cinderella* will be part of SF Ballet’s 2020 Season, with performances Jan 21–Feb 2.
By Jennie Scholick, PhD
What is it? A familiar fairy tale with a few charming twists. Created by choreographer Christopher Wheeldon of An American in Paris fame in 2012 to music by Sergei Prokofiev, this ballet leaves behind the fairy godmothers and talking mice in favor of a delightfully human story full of fabulous visual effects. With fantastic sets and costumes by Julian Crouch, magical projections by Daniel Brodie, and breathtaking puppetry designed by MacArthur Foundation Fellow Basil Twist to put a new “twist” on an old tale, Wheeldon updates this timeless tale for modern audiences of every age
In short: A spunky heroine. A noble prince. Blended families of the evil and not-so-evil persuasion. Tiny feet and ill-fitting shoes. And of course stunning dancing to a fabulous score.
Who it’s for: Anyone who loves a charming romance, Broadway musicals, or a great pair of shoes.
What will I see? While the ballet has some similarities to the animated classic, Wheeldon chose elements from both the Charles Perrault fairy-tale (the one the movie pulls from) and the Brothers Grimm, which has a few darker tones. So let’s start at the beginning….
ACT I: CINDERELLA’S HOME AND THE PALACE
Meanwhile, back at the palace, young Prince Guillaume and his best friend Benjamin are growing up under the watchful eyes of King Albert and Queen Charlotte. Albert and Charlotte break the (unsurprising) news that Guillaume needs to find a nice princess to marry. Then, to add insult to injury, his father insists he be the one to deliver invitations to the ball at which he’ll pick a bride.
Guillaume does have one trick up his sleeve though: he has Benjamin pretend to be a prince, while he pretends to be a beggar. A quite Homeric way to see what’s what in a household. Cinderella’s stepsisters are terrible; Cinderella is sweet. She and the “beggar” share a dance as they pretend to be at the ball.
Fast forward a few days and worst-stepmother-ever Hortensia casually tosses Cinderella’s invite to the ball in the fire. Hortensia, Edwina, and Clementine go to the ball, leaving Cinderella alone cleaning the kitchen. At this point those fates take charge, bringing Cinderella to the tree (remember the tree?) who acts in place of the more traditional fairy godmother and gets her all set up with dress, invite, carriage, and a few new dance moves.
What should I look for? This first act obviously sets up a huge amount of plot exposition and character development—but while that’s all good and well, the big moment is actually one that’s just about Cinderella herself and her mother’s love: her transformation at the end of the act, helped by her mother’s tree. This moment features outstanding, magical puppetry.
ACT II: THE PALACE BALLROOM
The plot: This is the ball scene, you know what happens! Guillaume sadly wanders around, displeased with all the eligible ladies. Hortense and Edwina make true fools of themselves. And Cinderella makes a grand (masked) entrance all decked in gold, from tiara to toe shoes. Guillaume immediately falls for her and they dances together. Meanwhile, Benjamin is falling for Clementine, who, it turns out, is perhaps not all bad. Hortensia, on the other hand, is just that bad, and she rips Cinderella’s mask off. Cinderella dashes out and leaves a golden slipper behind (it’s hard to dance in glass).
What should I look for? This scene really plays with the corps de ballet, creating stunning kaleidoscopic formations that both stand on their own and highlight the principal dancers. Also, keep an eye out for those stepsisters—their duet in this act is one of the comedic highlights of the ballet.
ACT II: BACK IN CINDERELLA’S KITCHEN
Header image: Yuan Yuan Tan in Wheeldon’s Cinderella© // © Erik Tomasson
*Cinderella© by Christopher Wheeldon