Cinderella
Time to embrace a little magic
This past opening weekend at Pacific Northwest Ballet (PNB), I had the good fortune to sit next to a mother-daughter duo who’d come to watch the latest production of Kent Stowell’s 1994 Cinderella.
They wore bright red dresses, and it was hard to tell who was more excited to be in the audience, the mother or her approximately six-year-old girl. They were among fellow Cindy fans young and old. Some were dressed in tulle facsimiles of the gown worn by the 1950 Disney Cinderella, while others were clad in tiaras and more standard party dresses.
According to Google, the story of the motherless Cinderella, her encounter with a prince and the loss of her glass slipper was popularized in late 17th century France, but I saw the original Disney version and that’s what I see in my mind’s eye when I hear the Cinderella music.
Stowell’s version, set mainly to Sergei Prokofiev’s score performed admirably by the PNB orchestra under conductor Emil de Cou, is sure to please any Cinderella lover in McCaw Hall.
The leading lady at the matinee I saw — newly promoted principal dancer Clara Ruf Maldonado — floats across the stage as if in a bubble, with long arms that taper to expressive fingers. She was a dream to watch in this debut performance.
Her adept Prince, Kyle Davis in this production, ensured that Maldonado was displayed to perfect advantage. They’ll reprise the roles during February 7’s evening performance at 7:30 p.m., but any of the five couples cast as Cinderella and her Prince are likely to enthrall the audience, especially the legions of fairy tale fans.
While the romantic duets and the lavish ball scene are certain to be the focus of balletomanes like the mother and daughter in red, I confess I’m far more interested in the Stepmother and her two silly daughters. I saw Elle Macy as the mother herding her daughters, the excellent Rosalyn Hutsell and Sofia Bidne, through dance lessons, couture fittings and the ball itself. Act 1 is tons of fun and the PNB dancers cast in the supporting roles make the most of Stowell’s choreography.
When I last saw Stowell’s ballet in 2020, just before the COVID-19 pandemic shut down PNB, and every other live arts performance venue, I remember finding Cindy’s stepfamily a highlight.
I confess that I’m partial to Les Ballets de Monte-Carlo’s version, Cendrillon, choreographed by artistic director Jean-Christophe Maillot and last presented at PNB in 2017. To my eyes, it’s more dramatically compelling with less fairy tale and more backstory to consider. Unfortunately, Maillot’s fans in the Pacific Northwest aren’t likely to see Cendrillon anytime soon, unless we can find a video version.
In addition to the fine music and dancing, Stowell’s production also features Martin Pakledinaz’ lush costumes and Tony Straige’s equally dreamy sets. Taken as a whole, this Cinderella is sure to transport devoted fans to a fantasy world.
For now it’s best to put aside any expectations of grand drama and head to Marion Oliver McCaw Hall Feb. 6-8 for beautiful music and costumes and a happily-ever-after fairy tale.