It is over a year since the Royal New Zealand Ballet last performed in Christchurch so their return to the Theatre Royal with a sparkling new production of Cinderella is particularly welcome.  The challenges of lockdowns, travel restrictions and limits on indoor gatherings have been particularly daunting for our performing arts companies, not to mention their audiences, and there was a palpable air of expectation as the theatre filled.  Everyone, it seemed, was ready to be entertained; they were not disappointed.

The RNZB’s previous production of Cinderella was staged to Prokofiev’s bitter-sweet score, the product of one of the most difficult periods in Russian history during the Second World War.  In contrast, the creative team of choreographer Loughlan Prior, composer Claire Cowan and designer Emma Kingsbury have come up with a vision of the traditional fairy story that is unfailingly upbeat while adding some new twists to the plot that give it a contemporary resonance.  Their focus is much less on the traditional virtues of goodness and patient suffering being rewarded in the end through magical intervention but on taking charge of one’s own destiny and exploring what ‘happily ever after’ means in the twenty-first century.

This Cinderella is no shrinking violet but a feisty character who is willing, in the end, to take on the wicked stepmother at her own game.  Nor is Prince Charming a lovelorn aristocrat looking for a wife but a young man in search of personal fulfilment. Kingsbury’s costume and set designs place the action in a world that is both fantastic and magical but she provides sufficient contemporary references to make the characters seem believable in terms of everyday experience. A digital alarm clock freezes the action until a languid hand silences it; the stepsisters return from a shopping spree festooned with chic designer carry-bags. This is an unreal world but also one that is uncannily familiar.

Act One sets up the well-known character relationships of the Cinderella story but when Prince Charming appears the trajectory changes.  Pushed to marry by his domineering mother the prince escapes to the forest to practice his fencing skills.  This also allows the men of the company, armed with foils, to display their prowess.  As his companions depart the Prince encounters Prince Dashing and, in an eloquent pas de deux, he discovers the partner he has been looking for.  Like Cinderella, the Prince is also seeking to escape a destiny that has been forced upon him.  This is emphasised by the ensuing pas de deux in which both Prince Charming and Cinderella poignantly express their longing for a different future than the ones others have planned for them, their steps mirroring one another on opposite sides of the stage.

External intervention is nonetheless required when the Stepmother throws Cinderella’s ball-gown in the fire.  The Fairy Godmother appears with her team of five couturiers and entourage of mannequin; eventually a magnificent, flounced gown miraculously descends from the heavens.  Suitably attired, Cinderella floats up into the air as the curtain falls.

In Act Two we arrive at the ball during which Prince Charming must choose his bride.  The parallels with Act Three of Swan Lake, in which Prince Siegfried must make a similar choice, is unmistakeable.  Prior reinforces the link by introducing a sequence for the Stepsisters that is a witty parody of Petipa’s famous dance for the four little swans while Cowan’s score echoes Tchaikovsky’s familiar melodies.The parallel between the scheming Stepmother and Swan Lake’s evil von Rothbart is also made clear.  The arrival of Cinderella at the ball does not provide the triumphant resolution to the Prince’s dilemma that it normally does since Cinderella herself has as little interest in the Prince as he does in her.  She is attracted instead, to the Royal Messenger who delivered the invitations to the ball. As a result, the competition for the prince’s attention that forms a central part of the action in more traditional productions is missing.  This is more than made up for by the riotous proceedings of the ball itself, which quickly degenerates into chaotic scenes of revelry.  As the clock approaches the ominous hour of midnight, Cinderella’s gown becomes progressively shorter until she is finally forced to flee.

The final scene again inverts the traditional order of events.  A whole corps de ballet of hopefuls, who dangle their expectant feet over the edge of the stage, are progressively brought to despair as the glass slipper fails to fit.  The stepsisters are equally disappointed but when Cinderella reveals that the slipper is hers she hurls it away since princely wealth and status hold no attraction for her.

Resolution arrives beneath a neon sign that reads ‘Happily Ever After’. The Princes Charming and Dashing are united as are Cinderella and her Messenger.  Nineteenth-century ballets such as The Sleeping Beauty ended in an Apotheosis, in which all the plot threads were joined together and the full cast assembled on stage for a joyous final tableau.  Prior and Cowan give us their own version of this traditional ending in a celebratory ensemble that has the audience clapping in time with the music.  One of the considerable strengths of this production is the unanimity of its choreographic and musical intent. Cowan’s eclectic score, infused with Latin rhythms, provides the ideal springboard for Prior’s inventive and witty dance.  This infectious combination is clearly relished by the company as a whole.

The production draws on the full strength of the company and there are a wealth of parts to allow individuals to shine.  Foremost is the Cinderella of Mayu Tanigaito, who embraces the role’s opportunities to express a broad range of emotion from despair to defiance and whose indefatigable energy leaves her as apparently fresh and radiant at the end of the evening as she was at the beginning.  Laurynas Vėjalis as the Royal Messenger gives her able support.  As Prince Charming Joshua Guillemot-Rodgerson conveys the conflicted emotions of the character while simultaneously projecting its underlying virile strength.  Shae Berney lives up to his character’s title of Prince Dashing. As the Queen, Clytie Campbell is by turns confused, intransigent and finally accepting as she realises where her son’s happiness lies.  The Stepmother, Ana Gallardo Lobaina, is a fearsome, man-eating virago complete with cigarette holder wielded like a rapier.  The two step sisters, performed by Sara Garbowski and Kirby Selchow strike sparks off one another but never descend into caricature, although some of their gags are a little hackneyed.

Visually this is a sumptuous Cinderella with the projected backdrops well integrated into the production as a whole.  By some margin this is the Royal New Zealand Ballet’s most accomplished new production in recent years.  After the uncertainties and disruptions of the last two years the entire company appear to be relishing being back on stage in front of a live audience.  Last night’s audience were delighted to welcome them back to the Theatre Royal.  Presiding over all was Hamish McKeich conducting the Christchurch Symphony Orchestra.  Such was the polish of the orchestral sound that it was hard to believe that they were performing a brand new score for the first time.

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It is said, it takes 10 years to make a dancer. This being true, how long does it take to make a choreographer? Loughlan Priors reimagining of Cinderella wears the cape of a Happily Ever After. At last, Prince Charming is out and proud, and Cinderella decides not to be a trodden down people pleaser. The theme is imbedded in and prescribed from our current societal understandings and cultural practises. People, do the inner work and let yourself be free. And, to confirm this necessary and challenging practise, the palace ball is a rainbow affair.

This show is stylish and glamourous, with the feeling of 60’s retro Chanel and Dior. The Emma Kingsbury set and costume design are ravishing, including the fire with no flame also used as a portal, and the faulty chandelier also used as a trapeze for shenanigans. Visual effects are delightful from POW Studios, especially at intermission. Music written by Claire Cowan is brilliant and astonishing and leads the story forward. In its entirety, this work is a delicious visual feast.

The choreography, the work, the steps themselves should be able to work alone, should be able to speak for themselves, own their place, without the music, without the costumes, without the visuals. These things are layered on top of the movement to add texture and tone and feeling. I feel like there isn’t enough dancing, not enough meat on the bones. Or the choreography is so good, it’s hidden in the razzle dazzle of the production. Either way, Prior is an emerging choreographic artist with plenty of years left to find his way. He is not there yet but he is on the right track. All the leads are capable of much more than they are given in this work.

Katherine Minor as Cinderella and Kihiro Kusukami as the Messenger really have the x-factor together. Their bodies work with the choreography Prior has given their story. Their energetic connection comes to us in the stalls.

Mathew Slattery as Prince Charming is lukewarm in his delivery of this role. Calum Gray as Prince Dashing delivers his choreography convincingly. Kirby Selchow as the stepmother, with Jemma Scott and Cadence Barrack as the stepsisters are the highlights of caricature, comic, and grotesque.

Mayu Tanigaito as The Fairy Godmother steps immaculately into her role. She rocks the plastic tutu and blue wig. The Fab Five, aka, ‘Queer Eye for The Straight Guy’ are entertaining with perfect placement in this work, a stroke of brilliance for the storyline. The mannequins are a nice touch. As are the little helpers, well done little ones.

There is a pinnacle moment in this work which I believe makes history in New Zealand Royal Ballet. Prior invites his audience to respond in the precise moment. And respond they do. I have never been in an audience with this response before. The whispered silence was deafening. And enlightening. I am sure this moment will be unpacked over cups of tea for weeks to come.

Watch this space for more of Prior’s choreography. One day, he will be full force and that will be WOW. Thank you again RNZB for delivering an experience no one will forget.

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The Royal New Zealand Ballets production of Cinderella opened at the Kiri Te Kanawa Theatre in Auckland, on the 10th August. This is a contemporary telling of a classic tale, with choreography by Loughlan Prior and original musical score by Claire Cowan.

As the Auckland Philharmonia Orchestra, conducted by Hamish McKeich begins, the prologue is told visually through the use of an animated tapestry, setting the scene as we find Cinderella alone. From there we are taken on a journey where we meet a colourful cast of characters, each portrayed with a well-balanced combination of classical dance, humour and pantomime.

The close collaboration between choreographer Loughlan Prior, costume and set design by Emma Kingsbury and eclectic musical score by Claire Cowan, works well together to develop characters with a picture book quality. The cinematic sounding score provides atmosphere for the scenes.

Mayu Tanigaito’s performance as Cinderella is engaging and expressive with a lyrical style that embodies her role. The Royal Messenger, danced by Laurynas Vėjalis, is a well-chosen partner for Tanigaito, with a strong technique and appealing manner.

Joshua Guillemot-Rodgerson, as Prince Charming, gives a strong performance. The pairing with Shae Berney, as Prince Dashing, is well-balanced and they execute a strong, expressive pas de deux when they meet. The relationships of both Prince Dashing and The Royal Messenger with their respective partners, I would like to see more developed.

Many aspects come together to create an engaging, entertaining performance. The humour of the Step-Sisters, danced by Sara Garbowski and Kirby Selchow, their highlight being the Swan Lake parody at the ball, and the use of pop-culture references like the Fab Five, and Tinder dating, which adds further humour to this contemporary telling of the tale. Then there is the collage of musical styles and rhythms effectively used as the evening of the Royal Ball devolves from a stately affair to a more intoxicated party by the evenings end.

This rendering of the classical tale, while generally maintaining its original narrative, expands and contemporises the story as our two central characters each make choices and find their own happy ever after. While there are the odd moments where I feel a scene is drawn out a little too long, as in the step-sisters bedroom, overall, this is a vibrant, entertaining production that leaves the audience happy and satisfied.

Congratulations to the company and its creators.

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The current season of a brand-new Cinderella by the Royal NZ Ballet is brilliant, subversive and wonderfully entertaining. A witty and inventive trio, choreographer Loughlan Prior, composer Claire Cowan and designer Emma Kingsbury, has taken one of the world’s best-known fairytales and reimagined the familiar rags-to-riches story to show what “happily ever after” can mean in the 21st century. Their exuberant production has a marvellous “more is more” approach, mashing together all kinds of music, dance and design in a super-collage irreverently combining history and tradition with folk, techno-pop, graffiti, animations and retro computer game elements. [More]

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This production fizzes with flair and fun and the newly renovated St James Theatre welcomes the company back home with lots of colour and style. Orchestra Wellington, under the ebullient baton of Hamish McKeich has fun too, with a score by Claire Cowan that romps through snazzy upbeat Latin rhythms, jazz and even parodies of Tchaikovsky, sometimes a little too enthusiastically. I would prefer a bit of space in the sound particularly in the pas de deux. Space to soar and time to dream?  This is a fairy story after all. But it is wonderful to have Orchestra Wellington and new music bursting from the pit.

Technology in a partnership with POW Studios is cleverly used and integrated throughout. The overall production design, however, nods strongly to traditional stage and theatre convention with set cloths and use of props. The elaborate Design of both Set and Costumes by Emma Kingsbury matches this ‘homage’ to history as well. Sumptuous, totally over the top swinging chandeliers, a moving staircase alongside Tinder dating and a screen game on the curtain at interval, are among the unexpected entertainment extras.

There are a lot of cross references to traditional ballets and to the cinematic world of reworks of fairy stories … all in all a cacophony of visual and performance overload. But no coach! The build-up is perfect, the pumpkin is enormous but the curtain comes down and we have to provide our own magic.

Very well-known stories with a long history of telling are safe box office but tricky to change.

Choreographer Loughlan Prior really steps up to this challenge with not one romantic story but two. A twist of our times indeed and both couples have sumptuous dancing and passionate duets.

Mayu Tanigaito is the perfect Cinderella and completely tells us her story with excellent technical control and an expansive breadth of flow. Her Royal Messenger (he needs a better title? Or a name?), Laurynas Vejalis, is equally outstanding and totally in command of his technique with strong elevation and a very engaging manner. The Sisters, danced with vigour by Kirby Selchow and Sara Garbowski have a lot of fun. They are suitably annoying, perverse, precocious, selfish and irritating but they have lots of steps and absolutely relish their dance vocabulary.

Prince Charming (Joshua Guillmot-Rogerson) dances securely but struggles with the interpretation of his role and with his relationship with his mother the Queen, danced imperiously by Clytie Campbell.  I struggle with the identities and characterisations of the Stepmother, Prince Dashing and the Fairy Godmother. Even in the context of an extravaganza – the story needs to hold to its narrative and for this to work the characters need to be more fully drawn. As an audience I feel we are rather too reliant on the superficial.

This production is picture book pages and episodic with some clever scenes that really stand out – finding a foot to fit the silver shoe and the ‘Fab Five’ dress makers are masterful moments. As mentioned, the pas de deux also are beautifully measured and passionate. When all the elements connect with dancing that excites and challenges, this Cinderella sparkles.

It is a big and generous choreography and is indeed a ‘Happy Ever After’ ending. We leave the theatre happy to have been there and elevated by the energy on stage.

Best wishes go with the company as they set off on tour to captivate audiences around the country.

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Cinderella: ‘a fine balance of joyful self-awareness’

Brigitte Knight17:46, Aug 04 2022

Cinderella, Royal New Zealand Ballet, accompanied by Orchestra Wellington, choreographer Loughlan Prior, St James Theatre, until August 6. Reviewed by Brigitte Knight.

The Royal New Zealand Ballet’s ‘dream team’ of choreographer Loughlan Prior and composer Claire Cowan return with their largest and most ambitious project to date.

Perfectly timed to coincide with the reopening of Wellington’s St James Theatre, it is clear that with a protagonist who rescues herself, two princes, an animated tapestry, and an unconventional coach ride to the ball this Cinderella will be no restaged relic. The creative team have struck a fine balance of joyful self-awareness of the classical narrative ballet form; celebrating the best elements and moving on from the problematic ones. The result is a queer, feminist ballet simultaneously timeless in setting and contemporary in feel. In reconsidering the Cinderella story, Prior ensures beloved elements are maintained while pop culture references and humour are woven throughout.

Developed collaboratively with set, costume and visual effects partners Emma Kingsbury and POW Studios Cinderella is cohesive, holistically crafted, and resoundingly spectacular. From the animated façade of the St James to the expansive staging and concept, Cinderella feels akin to modern musical theatre, igniting the narrative in 3D and challenging the boundaries of the proscenium. Similarly, Cowan’s original score is rooted in the classical, but enriched and expanded by her cinematic style and eclectic musical influences. An exuberant Orchestra Wellington conducted by Hamish McKeich wield contrasting time periods, genre and instruments with vibrancy and panache.

Sparked by the feminist poetry of Amanda Lovelace and embracing the concept of contrast, Kingsbury’s sets and costumes give the designer an active and effective presence in the ballet. At the heart of Cinderella are the dancers, and Prior’s collection of characters developed with his lovely pithy humour. Mayu Tanigaito as Cinderella is magnificent; her emotional range and virtuosic classical technique drive the ballet’s narrative arc, and ensure the audience is behind her every step of the way. Partnered by Laurynas Vėjalis as the Royal Messenger this casting seamlessly matches two artists with inimitable elevation and control. Adorable and quietly courageous, Joshua Guillemot-Rodgerson as Prince Charming, and Shae Berney as his soulmate Prince Dashing, gives rise to Cinderella’s most innovative choreography. The romantic pas de deux between two men presented free from farce or parody is a milestone for the classical ballet canon. Stepsisters Sara Garbowski and Kirby Selchow are a dynamic duo, brilliantly entertaining and flawlessly funny, while The Fab Five are an instant hit. Underneath the vibrant production values and astute dark comedy, Cinderella is a celebration of individuality, authenticity, and the courage to seek your own ‘happy ever after’.

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