Taking on the world’s most famous rags to riches fairytale, Northern Ballet’s Cinderella combines dance with magic and circus skills. We speak to premier dancer Antoinette Brooks-Daw and first soloist Sean Bates about the production Have a ball at the bal
Antoinette, you play our heroine, Cinderella, and Sean her dashing Prince Mikhail in this classic tale. How does Northern Ballet’s Cinderella stand out from other adaptations?
Antoinette Brooks-Daw (AB-D): Northern Ballet’s production really does convey the classic fairytale story but unlike other versions it is set in Imperial Russia, which I think gives it an elegant regal - yet still magical - feel.
One of my favourite scenes is when Cinderella ventures out to the frozen lake, a place where she feels free! It’s a scene where the dancers are literally skating and sliding across the stage.
It’s so beautiful to watch and really draws you into the scene.
Another part of the show which I think is exquisite to watch is when everything is transformed in order for Cinderella to go to the ball - and it all happens in front of your eyes, glittery pointe shoes and everything! Sean Bates (SB): In the prologue of the ballet we find out how Cinderella came to be under the care of her stepmother and we understand that she feels partly responsible for her father’s death. I think that tells you why she doesn’t stand up to her Stepmother – she feels she deserves the punishments that she’s given.
Towards the end we have a bit more character development with the Prince because when he meets Cinderella at the ball he’s totally smitten and thinks she’s some sort of princess or from an upper-class family.
But when he visits her at home, he sees this servant girl and when she tells him ‘I was the girl from the ball’ he doesn’t believe her – he laughs in her face. But it does end happily ever after when he realises that he loves her regardless of her background and she forgives him. It gives the storyline a bit more of an emotional punch and a bit more depth to the Prince.
What has been your favourite part of the rehearsal process so far?
AB-D: Although I’ve performed in David Nixon’s Cinderella before; the roles I am dancing this time around are completely new to me – Cinderella in one cast and the Stepmother in another. I am really looking forward to the challenge of playing two different characters!
I always relish the rehearsal process once all of the choreography has been taught and learnt. Instead of thinking about what step comes next you can focus on the execution and interpretation.
Something I always enjoy working on is the duets, of which there are two between the Prince and Cinderella. Without exception, it’s so rewarding to build a relationship, communication and chemistry with a fellow dancer in the studio, transferring that to the stage and then hopefully out to our audience. SB: For the first time I’m in the first cast for Cinderella which means I’m able to adapt the choreography with David Nixon. He’s changing little bits to suit me more so it’s been really nice to feel like I’ve had an input in that.
Tell us a bit more about your characters.
AB-D: We first meet Cinderella as a young girl celebrating her birthday. An unfortunate turn of events takes place, resulting in a gift from Cinderella’s father being thrown into the river accidentally by her stepsisters. Her father tries to retrieve it but loses his life in an unforeseen tragedy.
Cinderella’s stepmother blames her for the death of her father and offers her no comfort or solace, instead, she forces her into a life as a servant for the family.
Having this first part of the story being portrayed in the ballet helps us to understand why Cinderella becomes who she is.
As the ballet progresses, with help, encouragement and a little bit of magic along the way, we see her step out of her shell. She becomes more confident, standing up to her Stepmother and eventually, falling in love. SB: The Prince comes across a little arrogant at first - I’d say he’s a little naïve but it’s nice that he has development in this version of the story. When he realises that he has this prejudice and overcomes that, begging Cinderella for forgiveness makes him a little more humble by the end.
If you weren’t performing as your
characters, are there any other roles you’d like to perform in this ballet?
A-BD: Definitely! There is one scene in the ballet set in the market. It’s busy, colourful and vibrant with lots going on. In amongst it all are two acrobats... I’ve learnt the choreography so fingers crossed I may get the chance to do it!
SB: I’d love to be talented enough to get on stilts and juggle in the market scene! I think that would be really fun, but my talents don’t lie there unfortunately.
Can you describe a typical show day?
A-BD: We usually start our days in the theatre around 11am or noon at the latest. It will always begin with a training class for an hour and 15 minutes to warm up our muscles and work on strength and technique by going through a series of exercises. If it’s not a two-show day then we will rehearse in the afternoon for an upcoming production. Any free time between rehearsing and performing is usually spent sourcing food, rehearsing and sleeping!
SB: Normally we’re a bit tired from performing the night before so we have a bit of a lie in if we can. Then we find the nearest shop to get all our food to take to the theatre for the day, we have our class on stage and most people work through a series of their own exercises that they need to keep their body in check to maintain their peak condition.
With seven shows a week you have to keep ploughing on with the things you know will help you physically.
Then, if we’re not doing two shows that day, we have rehearsals – sometimes for another ballet as we often tour several ballets at once. There are little moments of free time - I’m always napping whenever I can. I’m quite famous for my naps, in breaks, mid-show, whatever! If I’ve got a spare half an hour, I’ll do ten minutes of napping.
What’s the music like for this production of Cinderella?
SB: The music is absolutely amazing; it really adds to the magic of the show. I really like that Philip Feeney [composer] added a little voice which represents Cinderella’s mother, so you occasionally hear this distant singing. I don’t think it’s in the programme notes or anything so you wouldn’t know if you weren’t looking out for it, but I always like to listen for it – it’s like a little theme that comes in every now and again.
What is it like performing to live music?
SB: It’s really satisfying. I have danced to recorded music and it does have a different energy. When you’re with an orchestra you really feel like it’s a live show – every show is slightly different and I really feel like the audience benefits and has a great experience when they can hear the live music, they can even look into the pit and see it being played.
What can audiences look forward to most about Cinderella?
SB: Great dancing, great story, great music! It’s very magical, magic is a key part of our version. There’s some amazing tricks throughout but at the end of act one there’s a really wonderful scene - you’ll have to come and watch to find out what happens. A-BD: Being transported somewhere magical for two hours!
■ Cinderella comes to Leicester Curve on Tuesday, March 31, and runs until Saturday, April 4, 2020. Tickets: curveonline.co.uk Box Office: 0116 242 3595. Price: £10-£38.