La Jornada: Cinderella returns to Fine Arts after 12 years

After 12 years he returns to the Palace of Fine Arts Cinderellaby the British choreographer Ben Stevenson, inspired by the classic story by Charles Perrault, whose choreography stands out for its ensembles, solos and the way in which it articulates the fairy world with the earthly world, enhancing humor – especially with the stepsisters – without sacrificing the elegance of its dances.

The National Dance Company (CND), under the direction of Erick Rodríguez, will present this work starting today with the score by Sergei Prokófiev performed live by the Fine Arts Theater Orchestra, conducted by maestro Sylvain Gasançon.

The director of the group explained in an interview that the ballet had not been scheduled before due to artistic decisions by previous directors. “In this new stage for us it was important to rescue Cinderella because it is a great work by Ben Stevenson, with wonderful music, and it represents an artistic and technical challenge for the dancers.”

Accessible to all audiences

Rodríguez stressed that it is a world-renowned classic, with high technical and interpretative demands, but also accessible to all audiences. “It is a good way to introduce young people and children to dance.” Unlike Nureyev’s version, this proposal is very theatrical, the entire first act explores the characterization of the stepsisters, the stepmother, the father and Cinderella herself. In addition, it has a humorous touch and steps of great technical complexity for the protagonists.

To achieve the conjunction between the artistic and the musical, the company has worked intensively with Li Anlin, repository of the work. “It has been many hours of rehearsal to achieve the style, comedy and precision that Stevenson demands,” Rodríguez highlighted. He asks the principal dancers for stage honesty. “Let them be honest with them and with the audience, let them tell the story well and enjoy dancing this wonderful work.”

He also insists on uniqueness. “We do not want four identical Cinderellas. Ana Elisa Mena, Elisa Ramos, Greta Elizondo and Valeria Mariaud must interpret from their experience. The same with the princes.” Rodríguez highlighted the magic of live music: “when we connect artistic execution and orchestra, the show is more rounded, but live art requires adaptation, not every night the tempo is identical, the dancer can go faster or slower. You have to be precise and flexible.”

One of the most beautiful moments, he added, occurs in the second act with the waltz in the palace, when 12 couples appear on stage in a neoclassical style. Also notable are the four dragonflies that dance with the Fairy Godmother and secondary characters such as the stepmother, the dance teacher and the hairdresser. “What we seek to highlight about this Cinderella is the power of uniqueness and being faithful to your beliefs. Cinderella thinks and moves differently. Even if she is locked in a kitchen and suffers bullying of her stepsisters, she never stops being herself,” Rodríguez noted.

The production, which has not been seen in this format for more than a decade, brings together more than 70 dancers to tell, once again, the story of someone who crosses midnight with a glass slipper and a different possibility of the future.

Cinderellain which male and female dancers will alternate in the main roles, will be presented today, Tuesday and Thursday, June 28 and 30, as well as on July 2 with performances on Sundays at 5 p.m., Tuesdays and Thursdays at 8 p.m. in the main hall of the Palace of Fine Arts.