As befits the dreamscape of a fairy tale, the chance to revisit an encore Melbourne-only 2015 season of Alexei Ratmansky’s “Cinderella”[note]I wondered what I would see this time around—would the frame within a frame staging still toy with my sense of space and time? Would the celestial planets, in lieu of a pumpkin coach, continue to entrance with their circular orbit about the stage/through the cosmos? Would the ticking of the clock as time is suspended, chased, and distorted remain visible in the choreography melded to the score?—and I marvelled at the clever sorcery that made October 2013 feel like yesterday. I “turn and peep, turn and peep,” in accordance with the Grimm Brothers’ tale, but I cannot see how you did that! (“Turn and peep, turn and peep / there’s blood within the shoe / the shoe it is too small for her / the true bride awaits you” coo two birds in a Hazel tree to the Prince, as sited in the Grimm Brothers’ Cinderella (Aschenputtel), 1857, trans. Margaret Hunt (1884), German Stories, Virginia Commonwealth University, 1994.)[/note] was one ball I was destined to attend, with a longed for Schiaparelli shoe hat planted atop my head or otherwise.
Lana Jones as Cinderella in Alexei Ratmansky's “Cinderella.” Photograph by Lynette Wills
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.Continue Reading