Matthew Bourne’s Cinderella - Theatre Review

Matthew Bourne’s latest dance spectacular CINDERELLA dramatically reinterprets the traditional fairytale moving from glitz to Blitz, at Sadler’s Wells in Rosebery Avenue, EC1

LONDON has been awash with performances of Cinderella in 2010.

The Royal Ballet sold out Covent Garden at the start of the year before the English National Ballet impressed audiences at the Coliseum. But Matthew Bourne’s latest dance spectacular stands out from the crowd in every way possible.

Bourne, whose previous shows include an all-male Swan Lake and gothic-weepie Edward Scissorhands, keeps Prokofiev’s charming score but dramatically reinterprets the traditional fairytale.

Harry the pilot takes the place of the handsome prince while Cinderella’s fairy godfather whisks her off to the ball in the sidecar of a sparkling white motorbike. The set switches effortlessly from glitz to Blitz as bomb-damaged buildings make way for disco balls.


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Kerry Biggin brings energy to the title role, particularly during her duet with Harry in act one, which starts life as a solo with a tailor’s mannequin before her imagination takes hold. The rest of the cast are also strong, most noteworthy is Michela Meazza as Cinderella’s wonderfully cruel stepmother.

But as is so often the case with Bourne’s productions, the real joy lies in the choreography. From the whirling waltzes that fill the dance floor to subtle touches, like a well-timed drunken hiccup, he brings both humour and passion to this retelling of the classic love story.

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A magical night out for dance fans.

* Showing at Sadler’s Wells in Rosebery Avenue, EC1 until Sunday, January 23

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