Author: Marisabela A

REVIEW: Varna International Ballet – Cinderella  

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Rating: 4 out of 5.

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.

FEATURE: Ambassador PEEL Playwriting Challenge 2025

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The Ambassador PEEL Playwriting Challenge 2025 is a first-time event that took place aboard Ambassadors’ Ambition ship, currently docked in Tilbury. After an extensive judging process of over 260 entrants, the two shortlisted plays, Venison by Huw Turnbull and The Splintered Globe by Bryan Moriarty, were read by the cast of Theatre at Sea in hopes of winning the grand prize of £6,000, a free cruise for two, and the chance for their play to be produced and staged on the ship.

Upon being invited into the gorgeous Palladium Theatre, we settled into the front rows, eagerly waiting for the first reading to commence. The atmosphere was giddy in the best possible way: family members supporting the finalists, the judges’ panel, and an excited audience all ready to hear two short thirty-minute readings. Despite the simple read-through format with minimal staging, there was a genuine sense of occasion.

What makes this event truly exciting is the unique experience offered by the Theatre@Sea programme. It transforms the Ambition from a cruise ship into a floating performance venue with an atmosphere unlike anything on land. Run by the PEEL Entertainment Group in partnership with Ambassador Cruise Line, the programme aims to deliver high-quality entertainment for guests and the standard is far higher than people might expect.

The cast themselves form a well-structured, versatile company with a large repertoire of plays and musicals. They bring professionalism, warmth, and real skill, creating performances that feel fully realised even without sets or costumes. The Palladium Theatre is a beautiful venue in its own right, spanning Decks 5 and 6. It feels elegant and expansive, with its sweeping layout, gently curved walls, and warm starlight ceiling that adds a soft, luxurious glow. It made for the perfect setting for our two readings.

The Theatre@Sea cast are a genuinely talented and welcoming group, giving their all to immerse the audience in every show produced and performed on board. It offers guests a chance to step away from the bustling crowds and become fully enveloped in a story, one that plays out with a little touch of magic unique to being at sea. All I can say is, if the readings alone were this engaging, a full staging within the Palladium would no doubt be even better.

The first reading, The Splintered Globe, Moriarty’s debut play, takes place in 1600s London. Often described as a story filled with sinful, scheming characters, the reading introduced a lively cast of around five figures who lie, cheat, and manipulate to push their own agendas. With only three actors performing multiple roles, minimal props, and no costumes, the only visual anchor was a black-and-white static image of an old London map projected behind them. Surprisingly, that was enough, the witty, time-period-accurate dialogue carried us straight back in time. We follow a young woman recently out of mourning and two desperate lads competing (rather questionably) for her hand in marriage. Their intentions may not be as pure as they claim, and the actors’ bold performance full of sharp character switches, playful accents, and strong chemistry kept the room fully engaged. The reading ended just as tensions peaked, leaving us wanting more.

The second reading was Venison by Huw Turnbull, the winning play of the night. A modern murder mystery with a darkly comic edge, it follows four characters at a dinner party that slowly spirals into unease. The play opens with Jerry, a professional chef, cooking for his partner Jane and her friends. But when the friends arrive, they learn Jerry has just been dumped and Jane herself is nowhere to be found. With rising tension, we watch the group try to remain polite while clearly disturbed at being in “creepy Jerry’s” apartment during such a vulnerable moment. The dialogue feels natural and modern, mixing laugh-out-loud humour with very relatable human awkwardness. As each course is served, suspicions grow, especially when they realise Jane’s red jacket, something she would never leave behind, is still in the apartment. The cast did a great job absorbing us into the story, and the reading ends on a sharp, teasing climax as Jerry brings out the main course: a venison pie… or so we think.

As this was the first year the event took place, the overall organisation was impressive. The Ambition ship looks grand and almost imposing from the outside, but the moment you step aboard, the atmosphere transforms. The staff, from reception to the hallways to the ornate lounges and restaurants are warm, friendly, and extremely hospitable, making everyone feel welcome and pampered. The cabins were cosy and intimate, with a lovely view of London’s skyscrapers. The five-course meal in the Holyrood restaurant was a great showcase of traditional British cuisine with a touch of fine dining.

Overall, the evening was a charming blend of new writing, theatrical talent, and the unique setting of a cruise ship. It was an exciting and memorable way to celebrate emerging playwrights.