Friday evening's performance of James Kudelka's charming Cinderella was tidier than the ones Haglund observed on Wednesday but still a work in progress. The various performances provided the opportunity to see a lot of dancers challenged in new ways. Throughout the week, Gemme Bond, Maria Riccetto, Nicola Curry, and Luciana Paris high-stepped, side-stepped, and high-jinxed their ways through the various stepsister roles for the first time. Kristi Boone reprised and fully "refined" her role. All were successful and funny, but there was always something special about the original pairing of Erica Cornejo and Carmen Corella in those roles. Their comedy was bold but it was also sly and detailed.
The soloists' variations in the Garden in Act I were some of Haglund's favorite moments in this production along with the dream sequences when the miniature creatures appear from the smoke in the fireplace. Blossom, Petal, Moss, and Twig had such diverse music and unique motifs that at times it seemed like the idea for them could have sprung from Ashton's spirit. Friday night, Maria Riccetto was the lovely Petal who bourreed about and placed her forearm to the top of her forehead while slightly leaning back. Misty Copeland, Simone Messmer, and Hee Seo repeated as Blossom, Moss, and Twig. All very pretty and pleasing to watch.
The Four Officers seemed to be having a better night, although it was not without its challenges. Luis Ribagorda, Blaine Hoven, Grant DeLong, and Jared Matthews didn't achieve perfection, but they were a lot more synchronized than anything Haglund observed earlier in the week. Alexandre Hammoudi made the characters of the Dancing Instructor in Act I and Shoe Salesman in Act III worth paying attention to - this guy is growing at a rapid rate similar to Jared Matthews. Earlier in the week, Eric Tamm was an especially dashing officer.
The Ladies and the Bachelors were improved in the Ball scene but still looked a little ragged. Directions and formations weren't always clear and the Bachelors couldn't seem to execute the little turn that ends with the palm of the hand raised all the same way - although it was impossible to tell who was doing it correctly and who wasn't. In short, the scene continued to look under rehearsed. Kudelka choreography is not something that reads well without sufficient rehearsal.
Gillian Murphy and David Hallberg were captivating as Cinderella and Her Prince Charming. She carried the 1920's style naturally; he wore the cuffs and sash handsomely. Their dancing was superb. However, Gillian was not always comfortable and convincing during the kitchen scenes when she either had to act with the props or stand within the scene while other dancers drew out their characters. Their PdDs, on the other hand, looked very smooth - including the lifts - and there were no uncertain technical moments between them.
Cinderella can be challenging for the viewer whose imagination doesn't flow as freely as it once did or for the viewer who demands a conventional explanation for every creative aspect of the ballet. For those of us who are willingly transported by the power of mere suggestion, Cinderella works like a charm.
This vintage golden moss covered Claudia Ciutti Pump Bump Award with twiggish heel and jeweled blossom petal is bestowed upon Misty Copeland, Maria Riccetto, Simone Messmer, and Hee Seo for their performances as Blossom, Petal, Moss, and Twig:
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