Birmingham Royal Ballet’s Cinderella delivers a masterful classic at Lowry

Salford welcomes Birmingham Royal Ballet back to Lowry for Sir David Bintley’s Cinderella.

Director Carlos Acosta, renowned for bringing to life The Nutcracker in Havana, showcased his exceptional talent for storytelling and contemporary ballet when it was performed at the Lowry a few weeks ago. If you were fortunate enough to witness that production, you already know the depth of his artistic vision and the lasting impressions he has on audiences.

Now, Acosta returns with his exceptional rendition of the classic tale of Cinderella, which proves to be just as captivating and masterful as his previous work.

Upon arrival, I saw people of all ages, from children to elderly, sit down waiting for the highly anticipated show to start.

Cinderella follows the tale of a sweet young woman who is mistreated by her stepmother and stepsisters and forced to slave for them. She meets a fairy godmother who magically transforms her rags into a beautiful dress to attend the royal ball on the condition that she will return to her rags by midnight. Upon her arrival at the ball, she captures the heart of a prince and dances the night away. Suddenly, the clock strikes midnight, and Cinderella frantically leaves the ball, wondering whether she will find her prince again.

John Macfarlane’s set design is a visual feast, rich with intricate details that transport the audience into the world of Cinderella. From the moment the stage is revealed, it begins with a stark, grey house that symbolises Cinderella’s mundane life.

However, as the fairy godmother leads Cinderella into her magical transformation, the stage seamlessly transitions into a stunning mystical land. The transformation is not just through the costumes and lighting but also in Macfarlane’s brilliant use of the set to evoke a sense of wonder.

The Royal Ballet Sinfonia is conducted by Paul Murphy, who delivers the classical Sergei Prokofiev’s Cinderella scores brilliantly, elevating the performance of his orchestra.

One of the most striking moments occurs in the second half when the clock nears midnight. The way the giant clock slowly comes together captures the tension of what Cinderella will do. It’s a masterful piece of set design that elevates the entire production, turning the fairy tale into a visual spectacle that draws the audience into this world.

Beatrice Parma’s portrayal of Cinderella is captivating, as she beautifully conveys grace through her fluid movements, adding depth to the character’s innocence. Parma’s performance feels truly authentic, drawing the audience into Cinderella’s emotional journey.

Her chemistry with the Prince, played by Enrique Bejarano Vidal, is strong as you can feel they share an undeniable connection that translates into a deeply passionate performance, leaving the audience mesmerised by their dancing duets.

For me, the outstanding performers in this production are Cinderella’s stepsisters, played by Ellis Small and Olivia Chang Clarke. Their comedic timing and exuberance inject an infectious energy into the performance. Small and Clarke are a dynamic duo; their perfectly executed clumsy antics never fail to bring the audience to laughter. What sets them apart is their ability to perform with purposefully exaggerated yet endearing awkwardness.

Their physicality and sharp comedic instincts make them a highlight of the show, offering humour that balances the more serious, emotional tones of the story. Their performances are a joy to watch, creating an unforgettable and hilarious duo who you just can’t help but love.

This is certainly a fairy tale that everyone can enjoy, and I highly recommend it.

Birmingham Royal Ballet’s Cinderella is at Lowry until 8th March and can be booked here.