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Northern Ballet’s Cinderella, Sheffield Lyceum Theatre

Northern Ballet continues to delight with a charming retelling of a classic fairy story and Christmas stalwart. <img src="http://www.thegayuk.com/communities/8/004/009/928/388/images/4616487210.jpg" width="460" height="460" alt="" title=""/> Transporting the story to Imperial Russia, Cinderella leads a life of servitude to her wicked stepmother following the death of her father in a shooting accident. She escapes from her drudgery by sneaking out; visiting a street market and a frozen lake, where she encounters a magician who is more than meets the eye. So, when Cinderella is left home alone on the night of the Prince’s ball, the Magician appears to transform her into a princess. But as she and the Prince meet and fall in love, the clock strikes twelve and Cinderella flees, leaving only a glass slipper as a clue to her real identity. Sometimes, such familiar stories can feel laboured and over familiar, Northern Ballet inject new life into the traditional fairy tale by putting in enough fresh ideas to add something new, but never too much that it detracts from the traditional story. Here, by including a nod to traditional Russian dance steps, expanding the backdrop to the story slightly to allow scenes to take place outside of the kitchen, and with the cast performing magic tricks, balancing acts, juggling and stilt walking, the audience are treated to something just a little different, but with its roots firmly planted in traditional ballet. <img src="http://www.thegayuk.com/communities/8/004/009/928/388/images/4616487211.jpg" width="460" height="259" alt="" title=""/> Providing notable performances and characterisations, Luisa Rocco and Ayami Miyata were wonderful as the teasing and tormenting step sisters, whilst it was a pleasure to see some of the younger members of the company filling the stage during the busy ensemble scenes, particularly Matthew Topliss, Matthew Koon and Olivia Holland. RELATED STORIES:<a href="http://www.thegayuk.com/magazine/4574334751/INTERVIEW-Kenneth-Tindall---Designing-The-Architect/8259147">Interview with Kenneth Tindall, designing the architect</a><a href="http://www.thegayuk.com/magazine/4574334751/DV8-JOHN-The-Lyttleton-Theatre/9016367">REVIEW: DV8 JOHN at the Lyttleton Theatre</a><a href="http://www.thegayuk.com/magazine/4574334751/THEATRE-REVIEW-The-Great-Gatsby---Northern-Ballet/8896438">REVIEW: The Great Gatsby, by Northern Ballet</a>The set was detailed and practical, providing nice use of dulcet tones for the darker scenes, bold oranges and yellows for the outdoor scenes and crisp whites and pale blues for the frozen lake and the palatial ballroom. The forced perspective of the set dominated the stage, theatre and characters; and the flowing gowns and smart uniforms were all in keeping with the feel of the fairy tale. A special mention goes to the orchestra who were simply perfect throughout the show. The main thrust of the first act is narrative based, with the second half being more about grand dance numbers, including a romantic “pas de deux” (duet) between Cinderella and the Prince. <img src="http://www.thegayuk.com/communities/8/004/009/928/388/images/4616487212.jpg" width="461" height="311" alt="" title=""/> Northern Ballet remains consistent in their quality and performances and this production is magical, traditional and charming. Their next production is Peter Pan at Leeds Grand Theatre over Christmas 2014 and they return on national tour next year with Wuthering Heights and Romeo and Juliet and with a brand new production, an adaptation of George Orwell’s 1984. Cinderella is playing at Sheffield Lyceum Theatre until Saturday 29th November 2014 (<a href="http://www.sheffieldtheatres.co.uk/event/cinderella-14/">http://www.sheffieldtheatres.co.uk/event/cinderella-14/</a>) and for more information on Northern Ballet’s upcoming productions, visit <a href="http://www.northernballet.com/">www.northernballet.com</a><a href="http://www.thegayuk.com/PaulSzabo">by Paul Szabo</a>

Northern Ballet continues to delight with a charming retelling of a classic fairy story and Christmas stalwart.

Transporting the story to Imperial Russia, Cinderella leads a life of servitude to her wicked stepmother following the death of her father in a shooting accident. She escapes from her drudgery by sneaking out; visiting a street market and a frozen lake, where she encounters a magician who is more than meets the eye. So, when Cinderella is left home alone on the night of the Prince’s ball, the Magician appears to transform her into a princess. But as she and the Prince meet and fall in love, the clock strikes twelve and Cinderella flees, leaving only a glass slipper as a clue to her real identity.

Sometimes, such familiar stories can feel laboured and over familiar, Northern Ballet inject new life into the traditional fairy tale by putting in enough fresh ideas to add something new, but never too much that it detracts from the traditional story. Here, by including a nod to traditional Russian dance steps, expanding the backdrop to the story slightly to allow scenes to take place outside of the kitchen, and with the cast performing magic tricks, balancing acts, juggling and stilt walking, the audience are treated to something just a little different, but with its roots firmly planted in traditional ballet.

Providing notable performances and characterisations, Luisa Rocco and Ayami Miyata were wonderful as the teasing and tormenting step sisters, whilst it was a pleasure to see some of the younger members of the company filling the stage during the busy ensemble scenes, particularly Matthew Topliss, Matthew Koon and Olivia Holland.