Director's Cut
Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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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.
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Scottish Ballet in Christopher Hampson’s “Cinderella.” Photograph by Andy Ross
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Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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