Cinderella, English National Ballet, touring

Michael Corder's new version of the fairytale has a classical heart - but needs a pumpkin

by Ismene BrownThursday, 25 March 2010

Elena Glurdjidze as Cinderella: 'a lovely affinity with the moon, and a delicate silvery aura'photo Daria Klimentová

Was it with a hollow laugh that ENB programmed Cinderella for the election period - as a reminder that glittery fairy phaetons are in fact pumpkins with money? Was it a hint that ballet needs political fairy godmothers? With airwaves full of budget cuts, nothing was more welcome yesterday than to go into a Bristol Hippodrome matinee, full of noisy children, and watch this delightful fairytale of wish-fulfilment laid before them. Even better, with the radiant Elena Glurdjidze as the ash girl.

Not many choreographers could so majestically marshal layers of ensembles, solos and pas de deux as Corder does

Explore topics

Share this article

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Dance

All You Need Is Death review - a future folk horror classic Irish folkies seek a cursed ancient song in Paul Duane's impressive fiction debut

MacMillan Celebrated, Royal Ballet review - out of mothballs, three vintage works to marvel at Less-known pieces spanning the career of a great choreographer underline his greatness

Carmen, English National Ballet review - lots of energy, even violence, but nothing new to say Johan Inger's take on Carmen tries but fails to make a point about male violence

WAKE, National Stadium, Dublin review - a rainbow river of dance, song, and so much else THISISPOPBABY serves up a joyous tapestry of Ireland contemporary and traditional

Swan Lake, Royal Ballet review - grand, eloquent, superb Liam Scarlett's fine refashioning returns for a third season, and looks better than ever

First Person: Ten Years On - Flamenco guitarist Paco Peña pays tribute to his friend, the late, great Paco de Lucía On the 10th anniversary of his death, memories of the prodigious musician who broadened the reach of flamenco into jazz and beyond

Dance for Ukraine Gala, London Palladium review - a second rich helping of international dancers Ivan Putrov's latest gala was a satisfying mix of stars and young hopefuls

Nelken: A Piece by Pina Bausch, Sadler's Wells review - welcome return for an indelible classic A new generation of gifted performers for us to get to know

Dark With Excessive Bright, Royal Ballet review - a close encounter with dancers stripped bare The Royal's Festival of New Choreography launches with an unforgettable walk in the dark

La Strada, Sadler's Wells review - a long and bumpy road Even the exceptional talents of Alina Cojocaru can't save dance adaptation of Fellini film

First Person: pioneering juggler Sean Gandini reflects on how the spirit of Pina Bausch has infiltrated his work As Tanztheater Wuppertal Pina Bausch's 'Nelken' comes to Sadler’s Wells, a tribute from across the art forms

Manon, Royal Ballet review - a glorious half-century revival of a modern classic Fifty years on, Kenneth MacMillan's crash-and-burn anti-heroine is riding high

Follow @theartsdesk