Within the limits of fantasy and reality
Premiered back in April 3, 1999, also at the magnificent Salle Garnier, the adaptation of Cinderella choreographed by Jean-Christophe Maillot, with music by Serge Prokofiev, staging by Ernest Pignon-Ernest, costumes by Jerome Kaplan and lights by Dominique Drillot, is being performed by the dancers of the Ballets of Monte-Carlo during July 23, 24, 25 and 26, 2015. After more than 200 performances around the world in almost 20 countries Cinderella is certainly one of Maillot’s masterpieces. With two additional performances this weekend you may try your luck at finding a ticket by calling the Grimaldi Forum at +377 99 99 30 00.
Cinderella or The Little Glass Slipper is a European folk tale embodying a myth-element of unjust oppression. But to Prokofiev, Cinderella is not only a simple fantasy personage, but also a living being whose destiny touches our souls. Is from that human point of view that JCM creates an interplay of the natural and fantastic to display images that are both familiar and foreign at the same time, renewing the magic of the fascinating tale we all know. Guided by the memories of her mother, Cinderella designs her route in search for love, among the tragic excesses of the royal court. In this creative modern version, that evolves on stage literally turning the giant pages of a book, and the traditional glass slippers are replaced by bare feet flecked with gold. Mixing fable with reality and the use of visual effects, JCM transforms the famous fairy tale into a charismatic and engaging and idyllic classic with the Maillot touch. The substance of the story remains so the public was able to experience gentleness and the value of kindliness, unselfishness and sincerity again and again.
A voyage to a faraway land in three acts
The first act opens showing Cinderella alone invaded by the memories of her childhood, holding the dress her mother was wearing at her last ball, and focuses on the conflictive relationship of Cinderella with her father and her stepmother (who is the main reason there is such a bad rap about stepmoms in the world), her egoistic stepsisters, and his father’s subjection to his new wife. It is about quarrels and violence, but thanks to the adorable Fairy Godmother who brings hope with her presence, always protecting Cinderella! It was the second act at the Ball that was really enchanting with the dances of Cinderella and her charming Prince. The third act was brief and totally magic, with the Prince embarking with his friend on an adventurous trip to find the mysterious lovely girl he met at the Ball, always guided by the Fairy. A large deep blue tissue was undulating on stage as waves in the sea and the panels that had served as the pages of a book become vessels, so were the imaginative special effects that transported the audience to faraway land. The final scene when Cinderella meets her Prince on top of the stairs with a rain of gold dust falling over them, certainly took my breath away!
Until the next season
With this weekend’s performances of Cinderella the Ballets of Monte-Carlo close the season after a fruitful year of magnificent performances in the Principality and tours that went from Madrid to Dubai, from Tokyo to London, passing through Pekin, with the last performance abroad in the Orangerie Gardens of the Chateau de Versailles. The next season promises to be even more daring and fantastic when the Ballets de Monte-Carlo created on July 1, 1985, will be celebrating its 30th anniversary in the Principality.