Cinderella

Festival Theatre, Edinburgh

Mary Brennan

FOUR STARS

Is it for love or money? In Christopher Hampson’s tender re-telling of the rags-to-riches fairytale, there’s a thoughtful re-appraisal of what makes us truly wealthy in this world. His version – originally created for Royal New Zealand Ballet in 2007, and now caringly customised for Scottish Ballet where he is artistic director – shrugs aside bling and looks to the very heart of why we yearn for some-one to love, and be loved by in return.

Our Cinders (a gentle, wistful soul in Bethany Kingsley-Garnier’s poised performance) still grieves for the mother she lost in childhood. Home life is now a hostage to the vindictive bullying of her step-family, her two step-sisters in particular – Scottish Ballet principals Eve Mutso (Tall) and Sophie Martin (Short) tear up the floor as a brilliant comedy duo, with Mutso’s long elegant limbs tying themselves in bossy knots of temper and spite while a ditsy Martin follows her lead in a cute’n’goofy way. Hilarious? absolutely, but Hampson’s choreography for the sisters also has astute hints of unhappiness amid the malice aimed at Cinderella’s memories and dreams.

Nature, however, is on hand as a balm to inner pain. The rose-bush Cinderella planted on her mother’s grave takes on thematic significance both in Hampton’s scenario and Tracy Grant Lord’s designs – the colour palette has a delicate blush to it while critters, like the buoyant grasshopper (Jamiel Laurence), add a woodland magic to the transformation of a little waif into a balletic tutu-clad belle who finds a life-long partner in a steadfast Prince (Christopher Harrison). Lots of little quirks and surprises ensure the familiar story takes on fresh energy, an energy reflected in the dancing at every level.