A dreamy and passionate re-telling of an age-old folktale that explores the
not-so-charming realities of the fairytale world
Edinburgh Studio Opera’s Cendrillon is a beautifully constructed interpretation that pushes its audience to see beyond gorgeous gowns and charming princes toquestion what drives its characters. Director Iona Boyd’s clear artistic vision shines through in every aspect, culminating in a confident and meaningful production. The main goal of ‘peeling back the beautiful and opulent fantasy’ of the fairytale to reveal the reality of control, restriction, and expectation that punctuates tales like Cinderella’s is certainly achieved.
Musical direction (Kristine Donnan and Sally Proudman) supports what is already a very talented cast. The emotional drive of Massenet’s score remains throughout as they lead Edinburgh University’s Chamber Orchestra seamlessly from scene to scene. Elements such as choreography, set, and lighting design prove that less is more in a production with such a musical lead. Effective simplicity – from coat rails doubling as carriages, to prop changes signalling shifts in setting – prove there is nothing about Leanne Malaika’s set design that is mere decoration. Simon Hanks’ choreography embellishes chorus numbers wonderfully. All of these aspects of the show’s design are faultless, providing a readability to the performance that make it enjoyable for even a first-time opera-goer. The only thing that threatens this at times is sound balance. Whether structural or musical, there are several points in the production where vocals are lost to the orchestra positioned at audience level.
A true creative standout is costume designer Almut Echtler. Everything is again created with the intention of both portraying and dismantling the fairytale facade. The Court’s fairy-tale costumes are stripped of their exaggerated exterior, revealing rigid structures, corsets, and crinoline. Their heavy fabrics, deep reds, and burnt orange represent social standing while commenting on the restriction of tradition. In contrast, La Fée and their entourage of spirits wield a dream-like freedom. In pale, glittering blues, layers of tulle and chiffon present a floaty disparity to the human reality. Immaculate costuming is refined by hair and make-up design from Chloe Robertson.
Cendrillon hosts a large and expert ensemble. Opening the show, the chorus is perfectly together and entirely committed to their characterisation. Those who return as La Fée’s spirits move as one throughout. The royal court is a hilarious show of pomp, with standout performances from Ellen Macrae and Benji Castella McDonald. The synergy of the ensemble is mirrored by stepsisters Hannah-rose Laverick and Aarya Gambhir. Complimenting each other, they introduce an innocence and fun to the Haltiére household. Each subtle but meaningful gesture elevates their performance and the directorial intention behind it; in their brief encounters with Cendrillon we see a breakdown of stereotypes where women would usually be pitted against one another. Nicole Dickie’s Madame De La Haltiére is truly a force to be reckoned with, in voice and movement. She commands the stage (and her husband) in a manner befitting the lady of the house. Finn Maguire plays off of this well, with moments of comedy well placed so as to not drift into a pantomime-esque display. La Fée (Amy Worsfold) also takes charge of the stage, embodying imposing yet supportive confidence.
Cendrillon and Prince Charmant (Lara Keen and Lily Hodge) captivate the audience immediately. Keen holds the audience’s eye and ear with an extremely earnest performance full of emotion. Hodge’s Charmant is fuelled by an endearing yearning that enthralled the audience before they even sang. At times this performance is a little static across from Keen, but overall this does add to the contrast between their characters, reinforcing the constraints of expectation.
Cendrillon is an empathetic and confident opera that successfully embodies Boyd’s artistic vision, an immensely enjoyable and polished production.