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
One way to get to know the history of a company is through the “liner notes” of its “Swan Lake” production, and for those of us continuing to build an admiring familiarity with Pacific Northwest Ballet via its digital season offerings, Kent Stowell and Francia Russell’s “Swan Lake” provides an interesting glimpse into PNB prior to Peter Boal’s leadership.FREE ARTICLE