By Kathryn Olsen
For only a few more performances, the Utah Metropolitan Ballet is sweeping audiences into an extraordinary world at Orem’s SCERA Center for the Arts with its production of Cinderella. While the plot follows the 1697 tale told by French author Charles Perrault, Artistic Director and Choreographer Jacqueline P. Colledge tailors the story to the unique cast.
Cinderella (Mallory Moon Wilson) is a young woman, degraded and forced into servitude by her step-mother (Natalie Kirkham). While cleaning the family’s summer cottage, she longs to join in the carefree lives of other peasants, especially when an invitation arrives from the palace to the ball where the prince (Colin Hathaway) will choose his bride. She is unable to persuade her step-mother to allow her to attend, but is rescued by the intervention of her fairy godmother (Jennifer Christie). She arrives at the ball in true splendor and her success in charming the prince is foiled by the fact that the enchantment wears off at midnight. The tale is light-hearted, but enhanced by moments of tension over dreams to be fulfilled and obstacles to be overcome.
Moon Wilson plays the title role with exuberance across an impressive emotional spectrum. The audience is able to relate to her good heart and playful nature, but her emotional connection with the prince after a full act of isolation and humiliation is genuinely moving. She never seems to lose the hope that characterizes her role from the beginning, but her grace in an unfamiliar setting is remarkable when she arrives at the ball.
Colin Hathaway likewise conveys a great deal in the second half of the ballet. His performance is comparatively short to his beloved’s role, but he seems to stand alone in a crowded room and exudes longing for a loving bond. On the rare occasions when he is left alone by his thronging admirers and is able to dance, his technical skill is breathtaking.
Christie’s role as the fairy godmother is even more fleeting, but no less a standout performance. As she is the driving force for the success of the plot, she must have a charismatic stage presence and this production certainly cast the role well.
Kirkham and her two step-daughters (Ryan Richardson and Paul Richardson) are enjoyable as the token antagonists, infusing the story with an almost comical menace. While Kirkham grandstands marvelously as a misguidedDon’t take it if you are an adult sildenafil viagra below 18 years and women should stay away from kamagra UK. These tablets are an affordable option to the popular purchase levitra online s and can be used by men of any age group. But you don t have to worry about the size of Turkoglu. 14. purchased here discount viagra usa What an acclaimed company offers? viagra 100 mg drugshop link First of a well-known service provider assure you complete safety. parental figure, the two Richardsons flounce and preen in show-stealing manifestations of narcissism. The audience is compelled to root against them, but they received enthusiastic applause from one and all when the bows were taken.
Act II provides several more understated solo roles. Julia Hathaway, who delighted the audience alongside Delaney Zieg as a gossiping neighbor in Act I, oversees the ball as Queen. Her air is one of maternal pride that is amusing to anyone who realizes that the dancers playing mother and son are married to each other. The court jester (Lily Stephenson) encourages the festivities with a tongue-in-cheek efficiency that is delightful to watch.
The most unique contributions are from the extensive corps de ballet. Adults skillfully fill versatile roles, ranging from fairies who visit Cinderella to foreign guests at the ball. Colledge spotlights the dancers from Utah Metropolitan Ballet II and Jacqueline’s School of Ballet in roles suited to their age and skill level. When Cinderella is performing her chores, she is often interrupted by dancing flowers, bunnies, birds, and mice. While these youngest dancers are only featured in the first act, they play an invaluable role in setting the scene. Their slightly-older counterparts enhance the audience’s enjoyment of the pivotal ball, whether as servants in the palace, visitors, or even soloists. This collaboration between professional and student is wonderful to watch.
The creative team demonstrates considerable skill in making bold statements with simple parts. The Set Design by Bill Kirkpatrick ensures that Cinderella’s daily life is literally in the shadow of the palace, while the interior of the castle is elegantly appointed. Marianne Ohran, Lighting Design, cleverly sets the scene in ways that draw the audience’s eyes to important figures. The Costume Design by Sarah Price is striking in how it shows cultural similarities between peasants and nobilities, while allowing some costumes to be intentionally hideous. Colledge’s choreography certainly plays to the strengths and demands of the disparate companies, but is ingeniously matched to a compilation of pieces by Ottorino Respighi and Gioacchino Antonio Rossini so that the music often seems to come from a single ballet.
There are only two performances left, so hitch a ride on a magical carriage and head to the SCERA Center for the Arts before the spell breaks. Cinderella is a show suitable for audiences of all ages.
Utah Metropolitan Ballet presents Cinderella. Music by Ottorino Respighi and Antonio Rossini
SCERA Center for the Arts, 745 State St, Orem, UT 84058
May 16-20, 2019, Thur-Mon 7:30 PM, Sat 2:00 PM
Tickets: $8-12
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