Cinderella

February 17 to 28, 2010
At
The Auditorium Theater
(The Auditorium Theater Website)
50 E. Congress Parkway
Chicago, Illinois 60605
312.922.2110

Presented By
The Joffrey Ballet
Chicago
(Joffrey Ballet Website)

Choreography By
Sir Frederick Ashton
(Sir Frederick Ashton Bio)

Music By
Serge Prokofiev
(Serge Prokofiev Bio)


Ashley C. Wheater: Artistic Director
Christopher Clinton Conway: Executive Director
Robert Joffrey: Founder
Gerald Arpino: Founder
Charthel Arthur, Graca Sales, Willy Shives: Ballet Masters
Wendy Ellis Somes: Director and Supervisor of Cinderella
Scott Speck: Principal Conductor, The Chicago Sinfonietta
(Chicago Sinfonietta Website)
David Walker: Set and Costume Design
Scott Kepley, Wendy Ellis Somes:
Lighting recreated by Nicole Pearce
Eric Eatherly: The Silverman Group, Inc. Public Relations

Artists of The Company:
Matthew Adamczyk, Derrick Agnoletti, Miguel Angel Blanco,
Fabrice Calmels, Raul Casasola, April Daly, Jonathan Dummar,
Erica Lynette Edwards, Yumelia Garcia, Brian Gephart,
John Mark Giragosian, David Gombert, Dylan Gutierrez,
Elizabeth Hansen, Jaime Hickey, Anastacia Holden,
Victoria Jaiani, Stacy Joy Keller, Calvin Kitten, Suzanne Lopez, Graham Maverick, Megan Quiroz, Valerie Robin, Christine Rocas, Aaron Rogers, Ricardo Santos, Tanner Schwartz, Tian Shuai,
Abigail Simon, Patrick Simoniello, Michael Smith,
Temur Suluashvili, Mauro Villanueva, Allison Walsh,
Jenny Winton, Joanna Wozniak, Kara Zimmerman

Susan Weinrebe
February 17, 2010

Cinderella, the Joffrey’s latest full-length ballet, brings the magic of the fairy tale, the style for which The Company is known and the wit of Sir Frederick Ashton’s version to the Auditorium for a late Valentine to Chicago.

First, let it be said, that Cinderella is the perfect ballet for children. Easily followed by even young ones, the plot includes mean siblings, a hard-working heroine, broad humor, magic, transformation, a handsome prince, and a happy ending. On opening night, the gorgeous Auditorium with its gilt and last century décor was itself as magical as the fairy tale to begin. Dozens of little and young girls dressed in beautiful party outfits for the occasion were ready to be part of the rapturous experience.

They and the rest of the audience could not have been disappointed. As Ashley C. Wheater, the Artistic Director said in his address preceding the performance, “Let’s begin the dream.” And a dream it was. As the scrolled and Cinderella-inscribed curtain rose on a darkly cavernous kitchen setting, David Walker’s designs and layered scrims revealed scenes within scenes. When The Stars danced with their glowing lights, appearing as if illuminating the night sky, when the silvery pumpkin coach carried the transformed Cinderella to the palace, and when the palace ballroom itself seemed to give way to room upon room in a vista suffused with a golden splendor, it was visual magic.

Dancing the parts of Cinderella’s stepsisters, David Gombert and Michael Smith toed a fine line between hilarious characterization and camp. Abetted by their frou-frou candy-colored costumes, false noses, loopy hairstyles and female mannerisms that belied their gender, these two dancers couldn’t help but steal the scene nearly every moment they were on stage as the two unpleasant siblings. One exit, choreographed to move them across the stage and into the wings then return in a tandem gallop to exit on the other side, brought down the house.

Though a small part, Wellington at the ball, it was difficult to imagine anyone but Fabrice Calmels in the role. As with his virtuoso acting and dance performance in Othello last year, Calmels conveyed his character’s disdain through subtle nuances and facial expressions. His stature made him the obvious and perfect choice to partner Gombert and Smith as the sisters, his strength and height belying their own height and heft.

Explosively dancing the Jester’s part, Derrick Agnoletti delighted the audience with his mad zest, miming expressions and extended air time in his powerful leaping splits. Miguel Blanco, the Prince, played the proper classic foil to Cinderella. Partnering the luminous Victoria Jaiani, he displayed the posture, control, and generosity to her that one expects from the best male dancers. At one point, carrying her nearly vertically upside down, he exited with completely royal aplomb.

Playing Cinderella, Ms. Jaiani fulfilled the role to the hilt. Besides using her huge eyes and beautiful face, her entire body expressed the range of emotions in her cinders to castle transformation. Liquid arms and arabesques, that extended to forever, delighted the audience as did her dazzling three tours of the stage. The controlled strength required in this, as well as her descent down the grand staircase en pointe, and the elevation of her grand jeté, contradicted her gossamer appearance.

As in all proper fairy tales, the story ended most satisfyingly with Cinderella and her prince climbing a stairway, showered with the golden light of their happy future.

Victoria Jaiani in
The Joffrey Ballet's "Cinderella"
Courtesy of Temur Sulashvili

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Michael Smith, David Gombert,
Victoria Jaiani in
The Joffrey Ballet's "Cinderella"
Courtesy of Herbert Migdoll

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Victoria Jaiani in
The Joffrey Ballet's "Cinderella"
Courtesy of Herbert Migdoll

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Victoria Jaiani in
The Joffrey Ballet's "Cinderella"
Courtesy of Herbert Migdoll

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Victoria Jaiani and Miguel Blanco in
The Joffrey Ballet's "Cinderella"
Courtesy of Temur Sulashvili

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For more information, contact Dr. Roberta E. Zlokower at zlokower@bestweb.net