Chief executive and artistic director of Scottish Ballet, Christopher Hampson, has spoken of a desire to reimagine the classic fairytale as being a place populated by people who are “not defined by material things, or by who they have married.” Job done. It's an idiosyncratic, witty foray into scenes evocative of MGM's golden age, with a pinch of film noir at the start and an undercurrent of German Expressionism also thrown in, but moreover, his main remit is to weave a morality tale of eschewing worldly goods for inner beauty. The disparity between rich and poor is alluded to in the uniformity of movement within the cobblers at their production line, juxtaposed with the Hollywood fantasy of the Prince's court.
Scottish Ballet in Christopher Hampson’s “Cinderella.” Photograph by Andy Ross
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading