REVIEW: Matthew Bourne’s Cinderella – King’s Theatre, Glasgow

Following on from the critically-acclaimed new work, The Red Shoes, Matthew Bourne’s New Adventures delve deep into the back catalogue to 1997 to revive their much-loved production of Cinderella.

Re-set to World War 2, Cinderella and her shell-shocked, RAF pilot beau, meet and part during the horrors of The Blitz. The familiar elements of the story remain: the ‘wicked’ step-mother and (not so wicked) step-sisters (with a few step-brothers thrown into the mix), and while there’s no Fairy Godmother, there’s the (somewhat malevolent) platinum-haired Angel, whose sinister presence punctuates the action. Instead of facilitating the fairy-tale ending, it feels more like manipulation. The setting, and Bourne’s handling of it, perfectly encapsulates the fragility of love during wartime.

As ever, Lez Brotherston’s design is stunning, from bombed out buildings, the London Underground, the (ball substitute) evening at The Café de Paris, The Embankment to Platform 12 at Paddington Station, each element is breath-taking. The limited colour palette of greys, and blacks is darkly atmospheric and draw the eye to key features of the narrative: Cinders pure white dress, the red cape of a Red Cross nurse, it is a masterpiece of theatre design. It perfectly reflects Britain in its ‘darkest hour’. Paul Groothuis’ sound and Neil Austin’s lighting design only add to the magic.

Sergei Prokofiev’s haunting score has been edited down in Acts 1 and 2, but remains intact for Act 3. The music written contemporary to Bourne’s re-setting of the story adds a dimension of authenticity to the production. The two together a match made in heaven. It just feels right, and draws on Bourne’s own love for classic black and white movies and their music.

As with much of Bourne’s work there’s always humour to light the darkness. Including the foot-fetishist step brother, and a myriad of tiny details in both setting and action, that will raise a smile.

It’s hard to find fault in any aspect of this production, the dancers led by Ashley Shaw and New Adventures favourite Dominic North as Cinders and her Prince, are exquisite and unlike many Ballet companies, their acting ability and deftness at conveying the emotions of the story, not only match their dancing abilities but are head and shoulders above their contemporaries. Liam Mower as always leaves his mark as the Angel, as does Anjali Mehra as Sybil the exquisitely clad and coiffed, Step Mother.

With the now legendary Swan Lake to tour again next year, one can only wait with bated breath to see what new adventures are next for Matthew Bourne’s New Adventures. As ever, there are never enough superlatives for this incomparable company – simply unmissable.

This review was originally written for The Reviews Hub