Review by Mason Bennett, Front Row Reviewers
Salt Lake City and Utah’s premier ballet company, Ballet West, presents a singular production of the classic fairy tale Cinderella. My son and I have been excitedly anticipating attending for weeks. We were delighted with the level of craft, skill, choreography, music, and overall production. This is to be expected from Utah’s oldest ballet company, currently under the direction of Adam Sklute. Additionally, this version of Cinderella is full of rich heritage as the dancers showcase Sir Frederick Ashton’s choreography and Ballet West Orchestra plays Sergei Prokofiev’s score.
The production makes a tender tribute to Ashton and Prokofiev as the curtain rises to reveal a large fireplace where Cinderella spends her time gathering the cinders, cinders being where she received her name. On top of the fireplace mantle are portraits of Ashton and one of Prokofiev. It is a thoughtful and touching nod to the creativity and impact of these artists who gave so much to this ballet.
In fact, the story behind Prokofiev’s score is one of love and caring. Prokofiev wrote the music as a tribute to his first wife who was interned in Soviet Union prison camps. The intention was to portray Cinderella not just as a fairy-tale figure, but as a real person with emotions and experiences. The focus is on Cinderella and the Prince’s challenges in love, ultimately leading to finding a satisfying, magical creation of their dreams. This reflected the struggles the composer was facing in his own life at the time. The music beautifully conveys this, combining a melodious yet melancholic tone with moments of humor and grand inspiration.
Depending on the night, the cast alternates roles but true to expectation, all performers with Ballet West are incredible. Last night, Cinderella is played by Amy Potter who is resplendent as she floats in every step, epitomizing everything a ballet principal should be in grace, talent, presence, and skill. Playing her love interest and partner on their quest for love is Hadriel Diniz as The Prince. Diniz is heroic and noble, the perfect foil to Cinderella and their pas de deux are enchanting.
Cinderella’s Father is played by Dominic Ballard, which came as a bit of a surprise to my eight-year-old son when he realized that Cinderella’s father is alive and there is no evil stepmother. Ballard cuts a great paternal figure and performs his role comedically as his stepdaughters berate and bully him. This bullying is suffered by many characters including Jordan Veit’s Dance Master, whose efforts to prepare the stepsisters for the ball are hilariously in vain.
The Stepsisters, played by Tyler Gum and Jonas Malinka-Thompson bring side-splitting comedic relief. After one of their dances my son turned to me and said, “Dad–This. Is. So. Funny!” Gum and Malinka-Thompson look like they are having the time of their lives. This particular ballet must hold some sentimental regard for Gum because his first major solo role at Ballet West was in 2013 in Cinderella. In 2018, he played The Prince, and in 2025 he returns again as a Stepsister on some nights, and The Father on others.
In casting two dancers who identify as men as the stepsisters, Ballet West pays homage to historical productions in the style of the British Music Hall entertainment when the roles were played by male dancers. It was fun to see the male stepsister dancers do some more traditional female parts. For, example during a comedic dance where the Stepsisters are trying to woo two gentlemen at the ball, Napoleon (William Lynch) and Wellington (Anderson Duhan), it was impressive to see Duhan lift Gum (who is larger than Duhan) into a shoulder sit.
Another impressive performance is David Huffmire’s depiction of The Jester. He leaps about spreading chaos and mirth. Somehow, he seems to hang in the air an extra second with each of his jumps.
Bringing some magic to the play is Victoria Vassos as The Fairy Godmother. She is exquisite and fills the stage with an enchanting presence. Vassos introduces the fairies for every season. First is the colorful Fairy Spring played by Kristina Pool. Fairy Summer is played by Lilian Casscells, who brings the warmth of the season in her smooth motions. Fairy Autumn (Rylee Ann Rodgers) is brash and fiery, displaying large commanding gestures. Fairy Winter, played by Nicole Fanney, is imperious and cold, yet also scintillatingly beautiful. When she first appears, her arms are outstretched and dangling from them are glittering icicles. That highlights many of the subtle, insightful touches with many of the costumes designed by Christine Haworth with redesigns by Ballet West.
The costumes are also comedic, especially with the stepsisters. Early on, one of them removes a hat and out pop two huge pigtails that stick out straight from their head, bouncing around ridiculously. This won the first big laugh from the audience, warming us up to relax and laugh or cheer. Working hand in hand with the comedy or melancholy of the performances is the Ballet West Orchestra, led by music director Jared Oaks. From the first note played, I was hooked.
When you go see Cinderella, take a moment to read Artistic Director Sklute’s, notes in the playbill. It provides a wealth of insights and context to the ballet as well as the story of how it was able to come to Ballet West. For example, the sets were designed for the Covent Garden in London but were retrofitted by partners in the Boston Ballet and Cincinnati Ballet. The effort is spectacular. Every scene is a masterpiece, the backdrops remind one of a watercolor and are enhanced by clever lighting design by Kate Ashton. I kept having the impression that the stage looked like a beautifully framed painting where the figures gracefully move about. The composition and choreography of the characters within this tableau make any moment look like it could be hung in a museum.
So, this February, during a month that celebrates love, treat yourself to one of the world’s most enduring fairytale romances. One that is full of history, talent, wonder, and magic. Ballet West’s Cinderella will inspire audiences with a journey of overcoming difficulty, kindness, forgiveness, hope and finding your happily ever after.
Janet Quinney Lawson Capitol Theatre, 50 W 200 S, Salt Lake City, UT 84101
February 7-16, 2025 times vary
Tickets $15-$106
Performance is 2.5 hours with two intermissions
Recommended for ages 8 and up but suitable for the whole family. No patrons younger than 3 allowed.
Contact: 801-869-6900
Facebook
Instagram
Cinderella reel
Photos by Beau Pearson
0 Comments