Where The Magic Happens

Scottish Ballet’s contemporary twist on Cinderella is an enchanting festive treat for the whole family

WHEN Scottish Ballet premiered its production of Cinderella back in 2015, the company’s artistic director knew exactly what special ingredient would create the festive sparkle he was after.

“I wanted magic, magic and more magic, all the way through,” says Christopher Hampson, who first devised the production for Royal New Zealand Ballet in 2007.

He went about finding that magic in a number of ways – by adding a twist to the traditional story as well as commissioning a clever and enchanting design by Tracy Grant Lord that focuses on nature and a central rose motif.

“I often describe this production as the performance going from dark to light,” Christopher says. “It starts in the darkest of places, with Cinderella losing her mother. We’re at the graveside, but it only gets brighter from there, and more and more magical, until it’s almost heart-breaking at the end.

“In my production there’s quite a twist, so there’s also a storytelling device in terms of how to make it magic. And with Tracy’s stunning designs everything grows out of this one rose that’s planted at the beginning by the graveside. The people in Cinderella’s life become magical… and then she meets the fairy godmother and gets to go to the ball, so the magic really snowballs from there.”

This Christmas, Christopher and Scottish Ballet are bringing the traditional rags-to-riches fairytale up to date, adapting it slightly to fit with more contemporary values. “Because it’s such a well-known story, it’s an opportunity 