Review: Birmingham Royal Ballet’s Cinderella – A Sparkling, Spellbinding Dream in Plymouth

The Theatre Royal’s season of extraordinary dance launched with a dazzling performance of Birmingham Royal Ballet’s Cinderella that brought timeless magic to life. Traditional, classic, elegant, and glittering from (almost the) start to finish, this production felt like stepping straight into every ballet dancer’s dream – and I was utterly spellbound.

Choreographed by the legendary Sir David Bintley and directed by Carlos Acosta, this version of Cinderella embraces its classical roots, from the sweeping waltzes to the fairy-tale storytelling. It’s rare to see something so traditional done with such confidence and flair these days, and it felt like a real gift to the audience – a reminder of how powerful classic ballet can be.

From the moment the curtain lifted, we were transported into a gorgeously stylised world. The staging and lighting were atmospheric and clever – beginning with the stark image of mourners silhouetted around a gravestone, a quiet and moving moment that set the tone for Cinderella’s journey. The cold, cavernous but brilliantly designed kitchen that followed gave us a glimpse into her world of hardship, but even here, the ballet found moments of wit and warmth.

Yu Kurihara’s Cinderella was a revelation. Her opening solo, danced barefoot, was delicate and full of emotional depth – her slight frame gave a beautiful balance of vulnerability and quiet strength. Even in her hardship and servitude, her strength and grace shone through. As the story unfolded and she transformed into the radiant belle of the ball, Kurihara carried the narrative with charm, elegance, and emotional clarity.

The comedy of the evening was masterfully delivered by Tessa Hogge and Rosanna Ely as the Stepsisters, with Hogge in particular drawing laughter for her exaggerated flair and mischievous physicality. Their comic timing was on point - something that I think is hard to acheive when you’re performing classical ballet - but they did it brilliantly. Despite sitting in the cirlce, their facial expressions were clear and much laughter was generated from just those alone. I adored the ballroom exploits and they were especially good in a funny scene involving a broom and undignified sibling squabbling – all while never breaking the lines of balletic poise.

As the Prince, Lachlan Monaghan brought a confident presence and beautiful partnering, with his final pas de deux with Cinderella under a moonlit sky standing out as one of the most romantic and visually stunning moments of the night. Their chemistry was as believable as it was heart-melting.

And then there was the ball… My goodness, the ball! The costumes were nothing short of sumptuous – every gown a work of art, every detail sparkling under the lights; those frock-coats making me want to transport myself into the stage. The transformation scene, complete with swirling mists, a starry backdrop, and the arrival of a shimmering carriage, was jaw-droppingly beautiful and it’s arrival was so seamless I wondred as if magic had truly been employed. The Four Seasons variations were so gorgeously danced and visually rich and again - those costumes were just breathtaking.

Special mention must go to Isabella Howard’s Fairy Godmother, who brought calm command and ethereal poise, and to the whole ensemble of ballerinas who glided through Prokofiev’s glorious score like living stardust.

This Cinderella is a masterclass in classical ballet storytelling – charming, emotional, witty, and visually exquisite. With John Macfarlane’s stunning designs and David Finn’s inspired lighting adding layers of magic to every scene, it’s no surprise this production continues to captivate audiences.

If you’re lucky enough to catch this during it’s last few nights on its Plymouth run, don’t hesitate. It’s two and a half hours of pure enchantment – and I, for one, left the theatre desperate to stay in that glittering, dreamy world just a little longer.

Don’t forget that there is a pre-show talk on Friday night:

Reviewed by Bracken Jelier