Queer storyline takes centre stage in NZ ballet’s take on Cinderella
The RNZB has taken a traditional ballet and dismantled it to bring it up to the 21st century, finds Melanie Earley.
Traditional ballet boundaries are being pushed by the Royal New Zealand Ballet’s (RNZB), production of Cinderella, which features two princes falling in love and Cinderella fighting to become her own woman.
The show is set to open on August 3 in Wellington, and choreographer Loughlan Prior said the ballet would feature a queer storyline and same-sex kiss, which had never happened before in an RNZB ballet.
‘‘It’s heartening to be able to push traditional boundaries with this, as Cinderella is usually a very traditional narrative,’’ Prior said.
In classical ballet, Prior said Cinderella was a very famous 19th-century story but the RNZB was ‘‘dismantling’’ that version to create a 21st-century, New Zealand take on it.
‘‘It’s exciting and mind-boggling to be a part of it,’’ Prior said.
‘‘I’ve been involved with RNZB for around 10 years and in that time I’ve never seen a ballet involve a scene with two princes having an onstage kiss or any form of same sex romantic liaison on the stage.
‘‘I’m excited for people in the queer community to be able to see this and feel seen.’’
Prior said in this version of Cinderella, Prince Charming was struggling with his identity and what that would mean for his royal marital expectations.
Cinderella was being explored more in her own right as a character who yearned to break free and be her own woman.
‘‘In the show, Cinderella wins a pageant making her Miss Universe and she makes the choice to say no to becoming royalty and marrying the prince.
‘‘She has fallen in love with the royal messenger and we get to see that relationship blossom organically through the arc of the show.
‘‘Cinderella is not so much a damsel in distress this time,’’ Prior said.
‘‘Meanwhile, Prince Charming falls for Prince Dashing and comes out to his mother the Queen.’’
With a cast of 34 dancers, and many more people helping behind the scenes, Prior described the ballet as a ‘‘blockbuster production’’.
As well as a modernised storyline, the score of the ballet had been composed by Claire Cowan, who is the first woman in the history of RNZB to score a full-length ballet.
The pair had previously worked together to create the RNZB’s 2019 production of Hansel and Gretel.
Prior said the score had all sorts of different elements and genres incorporated into it.
The better part of two years had been spent creating the ballet, Prior said, and they had spent the past six weeks in the studio working on the choreography.
Prior had been involved with dance since he was 5 years old. He graduated from the New Zealand School of Dance in 2009 and joined the RNZB. He was appointed as choreographer in residence with the RNZB in 2018.
He retired from performing in 2019 to pursue a full-time career in choreography. Prior said he had a big goal to tell different stories and create more representation in the ballet scene.
‘‘This is by far the biggest thing I’ve created to date, the themes of pride and feminism make this a performance for everybody.
‘‘I’m excited to show everybody the world building we have created – it’s a show you can go to more than once and it’s just chaotic and fun.
‘‘People need to go into it and get lost in the fantasy. This is a new version of happily ever after.’’
The show opens on August 3 at the newly renovated St James Theatre in Wellington, before travelling to Auckland, Napier, Christchurch and finishing in Dunedin on September 3.
Dates and times for the season can be found on the RNZB website.
Cinderella is not so much a damsel in distress this time. Meanwhile, Prince Charming falls for Prince Dashing and comes out to his mother the Queen. Loughlan Prior, above, with Claire Cowan who composed the score.