Cinderella Reimagined

This winter, the UK premiere of “Cinderella” is being brought to vivid life in a new production by Northern Ballet. Multi-award winning choreographer Michael Pink, artistic director of Milwaukee Ballet, was previously associate artistic director of Northern Ballet from 1993-1998. With numerous narrative ballet credits to his name, for London Festival Ballet, Milwaukee Ballet, Atlanta Ballet, amongst others, Pink’s work has been defined as “classical ballet for the twenty-first century.” Fjord Review caught up with Pink between rehearsals to find out more about his unique creative process.

Milwaukee Ballet in “Cinderella” by Michael Pink. Photograph by Rachel Malehorn

Please tell me about your latest production of “Cinderella.”

This production of “Cinderella” was first conceived in 2009 for the Milwaukee Ballet. I inherited a full set of costumes that were fairly traditional in design. The scenery needed to be simple because of financial restrictions. I will say I enjoy having tight restrictions as it challenges my creative process. Prokofiev’s score is challenging musically, as one would expect from such a genius. I replaced the traditional fairy Godmother with Cinderella’s deceased mother and also introduced a house boy named Jack who is Cinderella’s guardian angel. I felt this created a much more meaningful relationship for Cinderella and for the audiences to identify with. The overarching message is one of hope, Cinderella never gives up hope.

My work has always been narrative driven, I try to always find a continuous narrative that is not interrupted with dance for the sake of dance. This in itself creates a whole heap of challenges that are rewarding to solve and give create a level of genuine integrity for the artists. There are sections of Prokofiev’s score that I enjoyed trying to decipher what might have been going through his mind as he composed the work.

Milwaukee Ballet in “Cinderella” by Michael Pink. Photograph by Rachel Malehorn

“Cinderella” as a story has long been considered problematic. Do you think it's important to give the character more agency?

I do think it is important to give Cinderella more sense of agency. In this production you will see that she is strong throughout, she will not give up hope. She has humility and shows kindness despite her unfortunate but temporary situation. In the final pas de deux when the Prince has found her, she is not transformed into wearing a beautiful ball gown, The Prince accepts her for who she really is.

How do you approach new work? Is it through a visual, a text or concept?

All my narrative work is approached through devising a synopsis that I believe will best tell the story in non-verbal theatre. I write a synopsis as if it were a full script, thinking through every detail of how the show will come together, ideas for every scene change.

Milwaukee Ballet in “Cinderella” by Michael Pink. Photograph by Rachel Malehorn

Your work is always inventive. Whose work do you find hugely influential at the moment?

It’s difficult for me to answer that question, I don’t get to see anywhere near enough the work of others. I tend to be more influenced by straight theatre works than dance works. I am pleased to see a rise in choreographers taking on the challenge of creating full length narrative works. When I first started choreographing at the Royal Ballet school, I told myself not to look at other choreographers' works as I did not want to be influenced by them, I guess I was conscious of not wanting to plagiarise their work. I wish now I had exposed myself to more creative work of the time, although I'm not sure what the outcome might have been. I strive to be honest in my work, to find a truth that justifies the choices I make.

Northern Ballet’s“Cinderella” opens on October 23, 2026 at the Nottingham Theatre Royal, and tours throughout the UK until January 2027. For details, www.northernballet.com

Lorna Irvine

Based in Glasgow, Lorna was delightfully corrupted by the work of Michael Clark in her early teens, and has never looked back. Passionate about dance, music, and theatre she writes regularly for the List, Across the Arts and Exeunt. She also wrote on dance, drama and whatever particular obsession she had that week for the Shimmy, the Skinny and TLG and has contributed to Mslexia, TYCI and the Vile Blog.

comments

Name

Email

Comment

이 사이트는 hCaptcha에 의해 보호되며, hCaptcha의 개인 정보 보호 정책 과 서비스 약관 이 적용됩니다.

Please note, comments must be approved before they are published

Featured

REVIEWS | Kris Kosaka

Power Play

The lights dim and the mystical Eye of Horus commands our focus. Hieroglyphics and distinctive carvings flank the famous Egyptian symbol of resurrection as the overture swells and the drop curtain morphs into a portal to the past.

REVIEWS | Robert Steven Mack

American Icons

Fresh from performing the concert version of George Balanchine’s “Who Cares?” at the Hollywood Bowl earlier this month, Los Angeles Ballet mounted a tribute to “American Icons” which included Jerome Robbins “The Cage,” Paul Taylor’s “Dilly Dilly,” and the return of artistic director Melissa Barak’s “Wavelength” for an evening at the Broad Stage in Santa Monica.

INTERVIEWS | Victoria Looseleaf

Dancing with Soul, Stanton Welch

Born in 1969 to a pair of gifted dancers—Marilyn Jones and Garth Welch—in Melbourne, Australia, it only seemed natural that their son, Stanton Welch, would follow in his parents’ balletic footsteps.

REVIEWS | Elsa Giovanna Simonetti

Sunset over Malandain Ballet Biarritz

Malandain Ballet Biarritz is approaching the end of an era. After nearly three decades at its helm, Thierry Malandain will hand over the direction of the Centre Chorégraphique National to Martin Harriague in January 2027.