Peacock Theatre, London.
4 July 2025.
As a prelude to Ella’s Big Chance: A Jazz-Age Cinderella, London Children’s Ballet Artistic Director Ruth Brill is joined in front of the house curtain by three dancers who introduced themselves and their dancing lives and dreams. A nice warmup with a supportive audience.
The overture began – an original score by Ian Stephens, lyrical and fluid, switching to a toe-tapping melody and the ballet opened with a bustling village scene, the cast entering from different wings – bakers, the postman, Ella’s cat – a charming, comical touch with her own signature theme tune. Drama in every corner, intricately choreographed by Kristen McNally.
There was an art-deco style proscenium arch, a central archway and staircase leading to the balcony either side, designed by Carrie-Ann Stein. There were so many enchanting ideas and little details to spot in the choreography and staging that you needed eyes everywhere. Bright-eyed expressive faces all deeply involved in telling the story.
A flashback scene illustrated the backstory; a happy family with a little Ella and a little kitten. And a sad Ella – Gina Harris-Sullivan, who played the role in an open and unassuming way – and her father, looking wistfully into the past, before they lost her mother.
Into the tailor’s shop, run by Ella’s father Mr Cinders, danced maturely by Corin Baylay-Bell. The villagers began to enter, to be served by a willing, helpful Ella. There were lots of opportunities for play, including a game of hide and seek between Ella and Buttons and the Cat, who is prominent and mischievous throughout.
Georgia McBride was delightful in her role as Madame Renée, the stepmother. Authoritative and expressive with some lovely extensions in her work. The flamboyant Pearl and Ruby, the stepsisters, had an equally dramatic flair and charismatic rapport between the two of them, which they maintained whether in the spotlight or a quieter corner of the stage. Played by Ailsa Levy and Mbayang Ndiaye, it was hard to draw your eye away from them.
The Postman, danced by Illia Bondarenko, had a humorous scene delivering invitations to the Duchess’s ball. Ella was given an invitation too, which she opened alone on stage in her simple plain black dress. Inevitably her invitation was snatched from her by her teasing and controlling sisters, with their many little nuances, eyerolls and nudges.
Caelin Stewart as the Fairy Godmother, appeared behind gauze and soft pink lighting as ‘Magic’ in the form of several dancers in soft gold romantic-style dresses appeared, flitting swiftly, swirling around the stage. A very clever way to convey the idea of suspense and magic.
To end Act One, Ella dressed in a beautiful black and silver ball dress, stepped into the carriage made up of dancers, with spinning umbrellas for wheels. They began to make their way off stage as silver glitter confetti fell.
Act Two brought an audible gasp from the audience as the curtain rose on a very picturesque and glittering ball scene. Costume design also by Carrie-Ann Stein showed off a warm colour palate of sparkling pinks, shimmering golds and blacks. The Duchess – Chloe Mackintosh – descended the staircase and introduced her son, the Duke of Arc played by Jude Illing, with great developing power and strength in his movement and expression.
Standout moments included the young men at the ballet, in waistcoats and sparkly bowties; they had a fun jazzy dance together, with opportunity for solo moments thrilling the audience. The maids had their own character-filled dance, and then the Duke, thoughtful and composed came down the staircase to interact with the guests. In true Cinderella style, he was flocked by all the eligible females but turned to Ella’s sweet simplicity as she entered the ball supported by the Magic dancers, and he chose her to dance with.
Once the inevitable dash from the ball at midnight had occurred, with some clever and effective choreography, the Duke searched for the owner of the missing shoe. This part of the story was always going to be a highlight and it certainly didn’t disappoint, with stepsisters Pearl and Ruby rushing to adorn hair bows before arguing over who should try the shoe first. A line of dancers, the ‘Shoe Hopefuls’ proffered their beautifully stretched feet to the Duke, in various amusing positions, often in canon. This piece must have been extremely fun to rehearse.
Cat nudged Ella forward and of course the shoe fitted her! A fabulous little twist in the tale next as Ella turned down the Duke’s proposal and reached instead for her best childhood friend, Buttons. A fun, happy and well-suited duet followed.
And a wonderfully comic role for the Cat, who’d met a Tabby Cat, and had kittens who appeared adorably one at a time from the wings.
Instead of a marriage, there were three cheers and a hurrah and an unveiling of the new shop sign – ‘Ella and Button’s Tailor Shop, under New Management.’ Ella rode Button’s trike off stage, with him in the basket at the back, which drew the whole performance to a natural celebrational conclusion; the whole cast on stage doing what this young company does best – filling the stage with drama and activity.
A gorgeous end with Magic returning to the stage and the Fairy Godmother, parasol over her shoulder and twirling in cascades of glitter.
By Louise Ryrie of Dance Informa.
