A playful, modern take on Cinderella with strong dancing and bold visuals.
Cinderella is a classic fairytale beloved by both children and adults around the world. Led by artistic director Daniela Dimova and music director and chief conductor Azat Maxtuov, this production presents a modern retelling of Charles Perrault’s story. The Varna International Ballet is a Bulgarian company currently touring the UK. The overall tone of the ballet feels playful and modern while retaining some traditional elements, giving the performance a fresh take on a familiar story.
The dancing throughout is captivating. Cinderella’s solos and movements are elegant and hopeful, clearly contrasting with those of her stepsisters and stepmother. Their choreography is bold, energetic and deliberately childlike, highlighting their mischievous and immature personalities in a way that complements the story. The Fairy Godmother and her ensemble of fairies deliver beautiful, clean, synchronised sequences, with choreography that conveys a genuine sense of magic and glamour. The Prince is graceful and controlled, often gliding across the stage with long, flowing movements that emphasise his regal presence. An interesting addition in this version is the character of Time, represented by up to twelve dancers who appear across scenes, reminding both audience and characters of the midnight deadline and the tension underpinning the magic.
The costumes are varied and often surprising. Cinderella’s maid outfit appears suitably worn and simple, while the stepsisters and ball guests wear colourful dresses and bold wigs that immediately draw attention. More traditional ballet costumes appear on characters such as the Prince and the Fairy Godmother, featuring pastel shades, shiny fabrics, and sparkling jewels and tiaras. Cinderella’s ball gown is a light pink dress that looks elegant while allowing fluid movement. Her jewelled shoes stand out, catching the light and naturally drawing focus, particularly during the midnight scene. The knitted or crocheted purple and pink wigs add texture and a three-dimensional effect, contributing to the extravagant feel of the ball.
The lighting design is relatively simple but effective. Warm yellow tones often suggest daytime, while cooler blue lighting marks the night scenes. This supports the storytelling without becoming distracting. For instance, when Cinderella sits alone after the ball, the cooler lighting emphasises her sadness and isolation, whereas warmer tones during scenes with the Prince create a more hopeful atmosphere. The production also employs a moving digital backdrop with castle and clock imagery to match the scenes. While this adds clarity and visual interest, some moments feel slightly busy and can draw attention away from the dancers. The music is a lovely rendition of Sergei Prokofiev’s score, with many light, airy passages. Recognisable moments such as the Grand Waltz and the Midnight theme stand out and align well with the action on stage.
Overall, it is a playful and creative version of Cinderella, blending modern touches with traditional ballet elements. The bold visual choices, added story details, and strong ensemble performances make it engaging to watch. It feels accessible and entertaining without losing the core of the original fairytale. It is definitely a production worth seeing, particularly for anyone who enjoys classic stories presented with a fresh twist.