A fantastic masterclass in visual storytelling
Birmingham Royal Ballet’s production of Cinderella was nothing short of a fantastic masterclass in visual storytelling. The performance seamlessly wove together a stunning reinterpretation of the classic fairytale, exquisite design elements, and breathtaking choreography that balanced modernity with tradition.
One of the most striking changes to the story was the deeper emotional connection between Cinderella and her mother. Rather than receiving glass slippers from an external source, Cinderella is gifted dance shoes from her mother, reinforcing a touching maternal bond that is later metamorphosed into the presence of the Fairy Godmother. This choice added an extra layer of poignancy to the narrative, making Cinderella’s transformation feel even more personal and meaningful.
The production’s approach to dance was equally poetic. The choreography beautifully captured the blossoming love between Cinderella (Beatrice Parma) and the Prince (Enrique Bejarno Vidal), with intricate patterns that reflected their growing connection. Particularly impressive were the difficult grips and one-handed lifts, showcasing both dancers’ strength and grace. Enrique Bejarno Vidal’s Prince had a compelling arc, growing into his own sense of manhood and self-discovery through movement.
Visually, the production was a silver celestial fantasy, combining modern elements with a classical essence. Macfarlane’s design masterfully depicted the transition from abyss to bliss, with meticulous attention to detail — even the curtain played a role in the spectacle. The use of walls throughout the production was particularly interesting, symbolizing the divided world Cinderella inhabits, which ultimately fractures when she falls in love.
The darker elements of the story were also well-executed. The performance opened in a visually imposing grey, starkly contrasting with the later scenes of enchantment. The Stepmother was a menacing, cruel presence, intensifying Cinderella’s initial struggles. Eilis Small and Olivia Chang Clarke as the Stepsisters delivered impeccable comedic timing, making their characters both humorous and at times genuinely threatening. The decision to not have the Stepsisters as drag performers was a refreshing choice, allowing their personalities to shine through. Dancing “badly” with such precision is no easy feat, yet they managed to execute their roles with hilarious accuracy.
Perhaps one of the most striking images of the evening was the clock, an imposing and memorable visual that underscored the fleeting nature of magic and time. The production’s visual appeal was further enhanced by its smooth lines, graceful movements, and synchronized ensemble performances, making for an utterly captivating experience.
Birmingham Royal Ballet’s Cinderella was a spellbinding triumph, blending innovation with tradition in a way that felt both fresh and timeless. With its emotional depth, stunning design, and exceptional performances, it was a breathtaking journey of love, transformation, and storytelling at its finest.