MARIINSKY BALLET CINDERELLA
January 21, 2015
Oh my, what a panorama of characters invades Alexi Ratmansky’s Cinderella. One of this generation’s most prized ballet choreographers, Ratmansky fiddles with the fairytale Cinderella and comes out with a confusing, character clashing full length ballet that does not burnish his applauded choreographic gifts.
At the center of the ballet, a work-worn Cinderella (the exquisite Diana Vishneva) longs for acceptance, and a chance to meet a prince at the ball. Her alcoholic father (Soslan Kulaev) is shunned by the wonderfully outrageous step-mother (Lyubov Kozharskaya) who competes with everyone including her two ungainly daughters. There are a number of changes in this fairy tale’s characters—dancing master is replaced by a haughty hairdresser couple Khudishka (margarite Frolova) and Kubishka (Yekaterina Ivannikova), four men represent the four seasons, for no more apparent reason than to show-off the costumes by Elena Markovskaya.
The fairy godmother ambles in dressed as a homeless old woman and is taken in by the warm hearted Cinderella. A captivating Cinderella, Vishneva applies her stellar imagination to a role lacking in invention. Technically confident and theatrically compelling she, like many a great actor, can bring untold greatness to the most meager work.
Cinderella is performed to a score by Sergei Prokofiev with a libretto by Nikolai Volkov after motifs from the fairytale by Charles Perrault.
EYE ON THE ARTS, NY -- Celia Ipiotis