posted October 28, 2000 07:22            

http://www.calendarlive.com/top/1,1419,L-LATimes-Theater-X!EventDetail-2624,00.html

posted March 29, 2002 17:26            

Scheduled as follows:

Romeo and Juliet, April 20, 2002, 8 p.m.

Cinderella, April 21st, 2002, 2 p.m.

Here is some information about tickets and a bit about the company:

Perm State Ballet

Here is the company's website. You can click on 'gallery' and see some terrific pictures. Click on the pictures to enlarge them.

Perm State Ballet Theater Website

posted April 04, 2002 07:13            

Cerrritos Center for the Performing Arts

Saturday, April 13, 2002: Cinderalla

posted April 04, 2002 07:43            

As best I can tell, the Perm State Ballet has a couple of different names. Sometimes it's written as Tchaikovsky Perm State Ballet, etc.

posted April 04, 2002 21:59            

I'm new to this board, but I thought I'd just thought jump in and make a few clarifications.

First, Perm State Ballet is NOT First State Ballet from Delaware.

Perm State Ballet is from Perm, Russia and is usually considered third in line of the most important ballet companies in Russia (right behind the Kirov and the Bolshoi). At the Cerritos Center near Los Angeles, the company will be performing "Romeo & Juliet" and "Cinderella." The company draws its dancers from its own dance school; its style was strongly influenced by the Kirov Ballet when the Kirov temporarily relocated to the city of Perm after evactuating from St. Petersburg during the siege on the city in World War II.

This should be an exciting event in Southern California. More information on the company can be found by going to its website:
http://www.permonline.ru/teatr/opera/index.htm

posted April 05, 2002 06:37            

I am looking forward to seeing this company. It has a large roster of dancers - 125, last I heard. I have a tape of them dancing "Don Quixote" and I was favorably impressed.

I am planning on attending the Saturday evening performance in San Diego, 'Romeo and Juliet,' and reviewing it for Dance Europe Magazine.

Dance Europe Magazine

posted April 12, 2002 07:30            

Natalia Moiseeva performs in "Romeo and Juliet."

Innovative Russian Lyricism in 'Romeo and Juliet'
The Perm State Ballet's performance trades familiar plot for plenty of dancing and emotion.

By LEWIS SEGAL, Times Staff Writer

quote:

---

Most ballets set to Prokofiev's "Romeo and Juliet" retell the events of Shakespeare's play in a literal, ponderous style based on the narrative conventions of such full-evening 19th century classics as "Giselle" and "Swan Lake." Not the audacious Nikolai Boyarchikov version danced by the Perm State Ballet (Russia's third-largest ballet company) at the Thousand Oaks Civic Arts Plaza on Wednesday.
Like the score, Boyarchikov's 1972 choreography belongs wholly to the 20th century, and in its best moments it might be called "Star-Crossed Variations," for it spends less time working through the familiar plot than using it to launch extended classical meditations on the characters' emotions.

---

posted April 14, 2002 11:11            

Music—Prokofiev; Chor.—Nikolai Boyarchikov; Costumes and Design—Alla Kozhkenkova. Juliet—Natalia Moiseeva, Romeo—Vitaly Poleschuk. Conductor--Valery Platonov.

Over in the NYCB thread, I said that “Prodigal Son” was probably my least favorite narrative ballet. Perm State Ballet reminded me that actually it’s “Romeo & Juliet.” “Prodigal” at least has the courtesy of being a one act while R&J’s three acts clock in at almost three hours. However, prejudices thus stated, I did find this production worth watching and thinking about.

The beginning of any ballet (or any artistic work for that matter) is always worth dwelling upon. In fact, at least two of my professors have emphasized that in graduate level classes you read entire novels but spend the entire time talking about just the first page.

A production beginning with dawn in Verona emphasizes the realistic elements of the story supported by detailed sets and meticulously researched period costumes. And, in the case of Tomasson’s San Francisco Ballet production, specially choreographed fencing sequences. These productions emphasize the narrative elements to make us believe in the love, hate, and fatal destinies of the familiar characters.

Boyarchikov’s production begins not with the lush strings of the score’s intended opening, but with harsh fanfares of the Prince of Verona’s interruption of the street fight—a dissonant wail of the winds and brasses like air-raid sirens. Hushed strings follow. The curtain rises to reveal a night time street scene with 5 pairs of dancers, faux-aristocrats in white faux-Renaissance dress. Their dance is a stylized rendering of courtly love.

By rejecting the more traditional morning-in-the-streets-of-Verona, Boyarchikov immediately draws this production closer than any of the others to Shakespearean original. The dissonance of the opening contrasted with the stylized movements of the prologue introduce conflict and formal concerns as major thematic preoccupations of the ballet.

This production wishes us to remember Shakespeare’s accomplishment in taking Arthur Brooke’s poem, The Tragical History of Romeus and Juliet and transforming it not just into a drama of considerable pathos and emotional power but also a sophisticated poetic achievement. For example, the play R&J encodes the love theme into the play’s very prosody (rhyme, meter, diction) by its reliance upon the sonnet form. The play is populated by sonnets—the Prologue, for example, “Two households, both alike in dignity, / In fair Verona, where we lay our scene …” is a sonnet (14 lines, 3 quatrains and a couplet, rhymed ABAB CDCD EFEF GG).

At the Capulet’s masked ball, when Romeo first meets Juliet, their flirtation is in the sonnet form: Romeo—“If I profane with my unworthiest hand …” (I put the whole sonnet down at the end of this post in case anybody wants to check for themselves). Romeo speaks the first quatrain, Juliet the second, then both share in the remaining sestet). The sonnet versification is a deliberate reliance upon both its familiarity as a closed form and its association with amatory verse going back to Petrarch. The sonnet’s closed form binds the lovers’ words together as they are to be bound by their great love.

What I’m getting at is that Shakespeare’s R&J is as concerned with matters of form as it is with plot, and so is Boyarchikov’s R&J. Time and again the ballet’s grand symmetry divides the stage neatly down the middle, especially in the first street fight of Capulet and Montague. At its height, Old Montague brandishing a broadsword is arranged with Lady Montague and 6 of his household mirrored by Old Capulet, Lady Capulet, and 6 of the Capulet household. If it was not for the color of their costumes, it would be impossible to distinguish Capulet from Montague on the basis of their formal properties of height, build, and movement style. Boyarchikov is pointing the audience to the very first line of the play, “Two households, both alike in dignity…”

During the ball, there is a passage where Romeo dances with Juliet front left stage, Old Capulet with Lady Capulet centerstage, and another couple rear right stage. Old Capulet and Lady Capulet dance with a dignified solemnity, Romeo and Juliet with sensitivity, and the anonymous couple with an anonymous modesty—these are three versions of love corresponding to youth, maturity, and public decorum.

Perhaps the most interesting use of structure/theme interplay is the Capulet family passage where Tybalt (Radiy Miniakhmetov) first dances with Lady Capulet (Irina Kozyntseva). Just when you think that perhaps they dance with a little more passion and closeness than might be thought appropriate for a married noblewoman and her nephew, Tybalt then dances with Old Capulet (Igor Shesterikov) with a little more closeness between two men than one would think prescribed by even Elizabethan convention. But then, Shakespeare has often hinted at male-male love—Orsino and Cesario/Viola in Twelth Night, Orlando and Ganymede/Rosalind in As You Like It, and in many of the great love sonnets, for example. When Capulet finds Tybalt langorously kissing Lady Capulet’s hand, he sweeps her away and we are not sure whether he wishes to protect Lady Capulet or monopolize Tybalt.

One could go on, but this post is getting long as is. However, I didn’t want to upload without a few comments on performance. First, the whole affair had an unfortunate, shabby appearance as if they just didn’t care. Number one, the orchestra needs some practice. They were out of tune and not paying attention. Number two, the sets and costumes … I quote Evagation “Katie”—gah. Also, the back of the church scene backcloth had a huge tear or a seam that had come loose and one could see the rear stage lights behind it.

Number three, the corps needs some major butt kicking from the ballet masters/ mistresses. The most favorable construction I can place on the first act is fatigue from touring. But, it looked like they weren’t even trying for correct placement or paying attention. One corps male was still crossing the stage to get into the wings when the curtain rose on Act II.

Finally, the program notes. Whoever is responsible for the notes NEEDS to have them proofread by a native speaker of English: “It is very characteristic of Boyarchikov to appeal to the dance of poetic symbols and to the combination of simultaneous stage action, to reveal the most inner characters features by means of the choreographic lexics, striving to the poetics of the dancing metaphor.” Or, just proofread: “Friar Laurence” not “Friar Laureate” etc.

On the plus side, Juliet, who I think was danced by Elena Kulagina (names were not matched with dates on the program notes on Friday but a cast list was available on Sunday's perf. w/ essentially the same cast except for Juliet). This Juliet is a petite ballerina able to convey a genuine sweetness and sensitivity. Romeo, Mercutio, Benvolio—gah. The evening’s Tybalt and Lady Capulet stood out—I could imagine Lady Capulet doing Myrtha or the Siren and doing some serious man-eating. Tybalt reminded me of Lubovitch’s Iago.

Overall, this production is not in the same category as the others I have seen. The Tomasson/SFB R&J which is sumptuous to look at and listen to, depends almost solely upon the strengths of its principal dancers for interest—and fortunately, it has dancers to match, like Joanna Berman, whom I saw dance in a recent season. Likewise the one the Bolshoi brought here recently. The Preljocaj R&J staged by Lyon Opera Ballet is sort of in a category of its own. But, if least satisfying, the Boyarchikov is in many ways the most interesting, and I am very curious if anybody else has thoughts about it.

---Appendix---

Romeo: (to Juliet) If I profane with my unworthiest hand
This holy shrine, the gentle sin is this,
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
Juliet: Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this:
For saints have hands that pilgrim’s hands do touch,
And palm to palm is holy palmers’ kiss.
Romeo: Have not saints lips, and holy palmers too?
Juliet: Ay, pilgrim, lips that they must use in pray’r.
Romeo: O then, dear saint, let lips do what hands do,
They pray—grant thou, lest faith turn to despair.
Juliet: Saints do not move, though grant for prayer's sake
Romeo:Then move not while my prayer’s effect I take,
[Kisses her]
Thus from my lips, by thine, my sin is purg’d.

(R&J Act I scene V)

posted April 14, 2002 19:50            

Romeo—Vitaly Poleschuk, Juliet—Natalia Moiseeva, Capulet—Igor Shesterikov, Lady Capulet—Irina Kozyntseva, Tybalt—Radiy Miniakhmetov, Mercutio—Nikolai Byuzhanin, Benvolio—Dmitry Assaulyak.

C-D friends, truly the hand that points the finger has three pointing straight back. In my earlier review, I scolded Perm State Ballet dancers and musicians for “not paying attention.” I could have been talking about myself. Today’s second viewing is in every way more satisfying not the least because I can correct myself on some inaccuracies in the specifics of the choreography and the names.

Also, I can satisfy myself that Perm State Ballet isn’t a company with extremely low performance standards. Compared to Friday’s performance, it’s like somebody took them all to their grandmother’s for home made borscht, steaming zakouski and plenty of tea and cakes, too. The corps especially look brighter and more aware of both themselves and the audience. However, Friar Laurence still looked sort of ticked off and the orchestra, alas, must have taken the wrong bus and missed the Russian soul food feast. However, feeling more comfortable watching the dancers allows greater attention to the ballet.

Faulty memory saw a passage during the Capulet’s ball demonstrating 3 versions of love—Romeo w/ Juliet (left), Capulet w/ Lady Capulet (center), and an anonymous couple (right). What is there is actually more interesting: Juliet w/ Paris (left), Capulet w/ Lady Capulet (center), and Tybalt w/ 3 men. It is indeed still 3 versions of love—Juliet’s love for Paris (this is before she meets Romeo), innocent and obedient; Capulet and Lady Capulet’s aristocratic, courtly love, more interested in dynasty, pomp, and display than passion; and Tybalt’s almost bestial appetites.

This is a provocative reading of Tybalt. My faulty memory saw him dancing two erotic dances—one w/ Lady Capulet, the next with Capulet. Wrong. First, he does a muscular, dynamic duet w/ Capulet, a dance of manly zeal and body builder poses, full of homo-erotic possibilities. Then away from Old Capulet’s attention he kneels before and passionately kisses Lady Capulet’s hand; and, it is from this that Capulet swooshes her away. Tybalt then finds the company of Capulet’s retainers for more manly attention.

Later, at Tybalt’s death, Lady Capulet’s grief is so over the top that one can’t help wondering why.

There is actually a second display of love’s variations in the Act II street scene: the Nurse flirting with Mercutio and Benvolio (left), Romeo and Juliet (center), and Capulet and Lady Capulet (right)— love/play, perfect love, and mature love.

Other details:

The sword fetishism of the Act I Capulet—Montague street fight. First, Romeo, Benvolio, and Mercutio fight the Capulet retainers with regular swords. Old Capulet and Old Montague come out to brawl, too, chased by their wives. Each calls forth a long broadsword brought out held ceremoniously high by 3 ladies in waiting, and each sword is equally ceremoniously put into play. The fight is interrupted, the combatants separated down the middle of the stage by the Prince of Verona wielding the longest sword of all. They defer to him by each kneeling and kissing the blade. Psychoanalytic analysis, anybody?

The depiction of child abuse in the Capulet household was disturbing to me, or perhaps I haven’t watched my share of the thousands of acts of violence on television to inure me yet. One gets an unpleasant sensation in the stomach watching Lady Capulet pound poor Juliet repeatedly. It’s been stylized but the brutality is still there.

The stylized depiction of death: when Mercutio is slain he struggles and stumbles about, his masquerade mask in his hand. His reeling and stuttering steps witnessed as they are by recoiling townfolks are very much like Giselle in the “mad scene”. Fallen, he arises and simply walks to the rear of the stage and then off into the wings, leaving behind his masquerade mask, suggesting his spirit departing the body at the point of contact with death. It’s a nice poetic-like conceit.

Juliet’s dream as she takes the sleeping potion reenacts her predicament and Paris and Capulet emerge to trap her in their arms held like bars before her. Soon, Juliet finds that sleep is conflated with death, personified by Tybalt and Mercutio who come out to carry her in their arms. Sleep is a second death as Shakespeare has told us before.

At the penultimate scene, Romeo simply holds the black blossom that represents the poison and kneels on one knee by Juliet’s side. When she awakens, she touches him and he falls over onto his back. After a stormy passage of grief, Juliet, too simply falls backwards. No apothecary bottles. No daggers. No swift stabbing motions. Just a sigh and it is done.

Though I enjoyed Natalia Moiseeva as Juliet, Vitaly Poleshchuk’s Romeo still needs some work. Moiseeva’s line is beautiful and her high extensions also. She has the dramatic power to move even a duller production. Poleshchuk’s performance, however, needs some work—is this a Romeo capable of murder? Of moving young girls to suicide? More watchable was Miniakhmetov’s manly Tybalt. He emphasized the matodor and the bullish qualities in Tybalt.

Irina Kozyntseva’s Lady Capulet also remains after the end of the show. But, when I refer to "Lady Capulet," one mustn’t get the picture of a shrewish, middle aged woman (like the hardnosed types that you sometimes come across behind the counters at the postoffice). A young, tall dancer with long, really long legs, Kozyntseva presents the kind of malice of the Queen in Robbins’ “The Cage.” Think of Roman Polanski casting Francesca Annis as Lady MacBeth and you have the right idea. Watching this Tybalt and Lady Capulet reminds me why in many ways the evil characters are sometimes the best roles.

Though I still don’t think that a presenter would be willing yet to bring Perm State Ballet to a big performance venue (especially with that orchestra), or as I quipped, people who wear ties aren’t going to want to come and see this. With the dancers awake and alert, this production really becomes worthy of repeated viewing.

posted April 15, 2002 07:13            

Restaged in a Wave of a Wand
Classic fairy tale gets a proletariat tweaking in the large-scale Russian production of 'Cinderella,' but retains its fantasy appeal.

By LEWIS SEGAL, Times Staff Writer

quote:

---

Oleg Vinogradov's version of "Cinderella" wants to be a slightly unconventional retelling of a classic fairy tale, a lyric dance-drama about people imprisoned by their place in life and a grand-scale classical showpiece that belongs alongside the story ballets of the 19th century. But it integrates dance and narrative awkwardly, lacks theatrical magic and never really accounts for the darkness and sarcasm in Sergei Prokofiev's score.
Originally choreographed in 1964, it joined the repertory of the Kirov Ballet and during Vinogradov's tenure as that company's artistic director was scheduled to be seen in the 1995 Kirov season at the Orange County Performing Arts Center--a season canceled because of problems earlier on the company's national tour.
Enter the Perm State Ballet, a company with strong links to the Kirov in training and style.

---

posted April 15, 2002 16:58            

The Perm State Ballet brought a technically adept but creatively challenged vision of "Cinderella" to Cerritos Saturday night. Though I understand this was a re-worked version it seemed as if it was part of a repertoire more befitting the Soviet era than a newly democratic one. A distant and cold Prince (Radiy Minaikhemetov) felt more the Soviet ideal of an aristocrat as did his buffoon of a father the King, but it was Oleg Vinogradov's choreography which held the company back most. Except for 30 fouette's impressively performed by Cinderella (Elena Kulagina) in the second act, it felt as if little was given to the dancers with which to show their abilities. This version felt far too literal and militant to allow the corps to fully explore it's potential.

But all was not lost. Kulagin'a Cinderella is a delightful sprite. With wonderful extension, light easy pointe work and a soft, lilting jump, she works her way into your heart. It would have been a treat to see her in a more challenging role.

The Step Sisters were much fun to watch as they battled first for their mother's attention, then the Prince's. Irina Kozyntseva's grimacing sister was well matched by Yuri Khiguchi. Khiguchi is a bundle of talent with an impish smile and breezy technique.

The Fairy Godmother (credited as the Fairy), Yulia Mashkina, was appropriately weepy yet stern. One interesting change had her watching over Cinderella right from the beginning, illustrated in a brief opening sequence, instead of coming to Cinderella's aid as the result of her good deeds.

The Act III Pas de deux between the Prince and Cinderella was a bit uncertain. Perhaps it was the emotional distance of the Prince contrasted by Cinderella's easy appeal which made it so. By this point I was asking myself why she would be interested in such a distant man. The pas de deux felt forced as a result.

A Spanish and an Arabian character dance went uncredited. The Spanish dance was well done, but the Arabian was lost under the costumes. It was not entirely clear if it was intended to be an Arabian or an Indian dance, never quite making up mind. The Jester's dance by Dmitry Assaulyak and the Dance Master by Nikolai Vyuzhanin provided some comic relief as the sisters prepared for the ball.

The women's corps were fairly strong at this performance. But, again, there seemed precious little to work with here. The story of Cinderella seems to lend itself to lyric, flowing choreography. The direction this evening was sharp and staid making it difficult to see past the militant undertones.

Despite some nice performances, the few entertaining moments did not add up to a fully developed work. This company obviously has some formidable talent within its ranks. They simply weren't given an opportunity to fully explore it.

posted April 15, 2002 17:00            

The Perm State Ballet lived up to all my expectations in this afternoon's performance. Strong, assured dancing was the order of the day and most every member of the company met the challenge. And it was no small challenge either. The company performed the entire score, much to the delight and appreciation of the audience.

There were several changes from the original story. Gone is the balcony, the bedroom, and much of the scenery. The two act production is now split into three, allowing for much needed breaks for the dancers. Nikolai Boyarchikov's choreography pushes them throughout. My chief complaint this afternoon comes from the placement of the new act breaks. The addition of the third act disrupts the flow of the story. As a result, when Romeo meets Juliet in the Capulet's garden early in Act II, there is little sense of urgency or danger for them both. But it is about the dance, and we get plenty of that in return.

Natalia Moiseeva's delightful Juliet is a stark contrast to the rest of her family. Breezy, charming with a zest for life, she exhibits a great self control and balance. Vitaly Poleshchuk takes some time to come alive as Romeo. But he comes alive in the Third Act in his pas de deuz with Juliet as well as his fight scenes with Tybalt.

Radiy Miniakhmetov was far more impressive here as Tybalt than as the Prince in "Cinderella." Here his stern features worked to his advantage as a conniving, vengeful Capulet. He struts across the stage all short abrupt motions, the very face of menace. And his strong leaps make him a worthy opponent to Romeo.

The true delight of the evening came in Nikolai Vyuzhanin's Mercutio. Soaring, athletic leaps, quick easy turns and a graceful confidence made him the highlight of the performance. His Mercutio is both intense and jesting, an amusing foil for Miniakhmetov's Tybalt. His death dance is all the more riveting as a result.

There are many other changes worth mentioning. The set design is minimal, allowing more room for the increased dancing. Boyarchikov's choreography melds modern and classical with interesting results. The peasant tarantella dances are awkward, almost an afterthought and not entirely necessary in this version. There is also the addition of five couples who appear throughout the performance. Dressed entirely in white, they represent the ideal couples, pure love in the minds of both Romeo and Juliet. Their dances move the story forward and provide a glimpse into the inner thoughts of the two lovers. A nice addition that helps the story remain firmly rooted in its love theme without being overtaken by the seriousness of the rivalry between the houses.

It was almost surprising to see this was the same company I had seen the night before. The dancing was far more certain and assured. The strengths of the company were far more visible in this performance.

Sergei Prokofiev's score was ably handled by the companies traveling orchestra led by Valery Platonov.

I do need to add a few thoughts. The men in particular were far too heavy on the make up. The Cerrritos Center is a fairly intimate venue. Heavy stage make up is more befitting larger opera houses such as you'd find in Russia. A little less would have made the men look younger. This was true for the women as well. As for the women, I have to say I was honestly afraid for the well being of a few of the corps members. Some of them were deathly thin, to the point it made me nervous to look at them at times.

posted April 17, 2002 01:02            

It remains the fate of the Perm State Ballet, at least in the United States, to be an unknown quantity. The Bolshoi -- sure, we know about them. And the Kirov, well, there's Russian style for you.

But Perm?

In fact, The Perm company is Russia's third most important company. And third when it comes to ballet in Russia is still pretty impressive.

The Perm ballet is making a sweep through Southern California theaters this month. Because it is not as well known as -- or as wealthy -- as the Kirov or the Bolshoi, it is performing in smaller theaters. And it is indeed a pleasure getting to see this company in relatively intimate settings, such as Riverside's Municipal Auditorium, one of its next stops.

posted April 17, 2002 01:57            

QUOTE:
The Perm State Ballet's second visit to the Cerritos Center for the Performing Arts offered an impressive display of its distinctive style and the company's principal dancers, presenting an enjoyable experience even though the productions on display were slightly disappointing.

Russia's third-largest ballet company, the Perm State Ballet offered two stagings of full-length Prokofiev ballets, "Romeo and Juliet" and "Cinderella."

In both productions the company offered clean dancing and utilized a highly competent symphony orchestra. Quite impressively, the company's style was uniform, an element that is refreshing to see after the off-and-on stylistic unity of the corps in American ballet companies.

posted April 22, 2002 19:12            

“Cinderella”
Choreography: Oleg Vinogradov
Composer: Prokofiev
Set and Costumes: Viacheslav Okunev

The old Spreckles Theater is intimate and charming. Ann Pavlova once graced its stage. I think she would have enjoyed the innovative touches in this production of Cinderella, the inherent sweetness of the role and the well-deserved rescue from clogs to rags to tutu. Set before a backcloth indicating a sometimes parlor sometimes kitchen, Yulia Mashkina’s Cinderella, lives among several giant tea and coffeepots lined up on either side of a fireplace. She is in patched rags, and outsize faux wooden clogs. Surely this must be the most cumbersome pair of shoes a dancer has ever been asked to dance in. Such beautiful legs in such awkward footwear. They imprison her just as surely as does her humble station within the household which is dominated by her stepmother and stepsisters. She is forced to walk heel to toe, rather than the ballet sequence of toe-heel. They are an effective symbol of her circumstance and add poignancy to every step.

In other productions the stepsisters often overpower the entire ballet. Their constant friction, comic and otherwise, dominates the stage and therefore the tale. Since there is little dramatic depth to the love story between the Prince and Cinderella, the antics of the stepsisters prevails. Not so in this production. These two roles are danced en pointe with great verve, both comic and naughty, by Irina Kozyntseva and Yuri Khiguchi. The choreography was by no means a throwaway. It was complex and demanding. Never stooping to the actually nasty, it remained within the realm of everyone’s sibling memory, a bit competitive, a bit underhanded, a bit saucy. The two dancers were a pleasure both technically and dramatically.

But those giant tea and coffee pots? What of them? When the dancing master has departed, and the stepsisters and mother are otherwise engaged off stage, Cinderella is alone with these pots and they become her friends. They begin to rise and male dancers, clothed in black, who were all this time sitting inside each pot, danced around Cinderella and her world of the kitchen. It reminds one that each of us has probably at some time had a friendship with an inanimate object to assuage an inner loneliness. Thus we are connected to Cinderella’s plight in the midst of her family. It’s a charming choreographic contrivance.

Since we are not shown any overt act of kindness on Cinderella's part, there is no clear connection between the arrival of an old crone and her reincarnation into the Good Fairy. We are not given a reason why the Good Fairy favors Cinderella, except perhaps to take pity on her loneliness and her desire to attend the ball. Nevertheless the Good Fairy, joined by a corps de ballet of like-minded fairies, performs her magic and Cinderella is transformed. Unfortunately at times the choreography too closely resembles the deadly Wilis of Giselle. This is redeemed, however, when at the end they celebrate Cinderella’s transformation accompanied by Prokofiev’s sweeping waltz. The importance of the clock is emphasized with a circle of male dancers dressed in black and imprinted with the hours. At first it’s a clever device, but as Cinderella circles the human clock, with a pirouette and a developpé behind each one, it begins to get repetitive.

The most poignant moment of the transformation scene is when Cinderella comes onto the stage in her new white tutu/gown. She is lovely except for those imprisoning clogs still on her feet. Every woman can identify with her consternation; she needs new shoes to match her gown. The Good Fairy provides a sparkling pair of pointe shoes into which Cinderella steps and ties her ribbons in full view. We all got to watch this final change from rags and clogs to a ball gown and pointe shoes.

The stage setting for the ballroom is a bit more ornate, but not very. Ornament is indicated rather than actualized. Again, this scene is often the place where the stepsisters dominate the action, but happily, not in this production. Roman Geer as the Prince was adequately surprised and happy to see the lovely Cinderella at his ball and follows his father’s advice to pay her court. The king is played as a comic role, but again not overdone. Geer has a feather-light bounding jump, with silent landings, noiseless even in a small theater. In this case proximity lent awe to his prowess. But the aplomb of his jump unfortunately did not carry over into his turn sequences, several of which were ragged. The pas de deux of the Prince and Cinderella was pleasurable and happy. I found Mashkina’s portrayal interesting. It is a difficult role to which to add true depth.

In his search for his beloved, the Prince with Cinderella’s shoe in hand, is accompanied by a contingent of a fine male corps de ballet dressed as soldiers. They pass through Spain indicated by a group of Spanish dancers in red flamenco dresses. The Orient is represented by a corps of women in flesh tone tights and leotards and sheathed in a diaphanous swirl of white net, giving the impression of veiled nudity. Their dance was slow and hypnotic. But the Prince returns to his own country without finding his love. No reason is given as to why after searching the world over, he then goes to a home within his own kingdom. Wouldn’t one search within one’s own realm first? Well, it is a fairy story! He comes upon Cinderella once again dressed in her rags and clogs. After the brief but unsuccessful attempts by the stepsisters to don the shoe the Prince carries with him, Cinderella is asked to try. The shoe fits. And if the shoe fits, she is his princess. The final pas de deux was both beautiful and memorable.

This is a satisfying production, happily danced. The company is not of the first rank, but nonetheless enjoyable to watch. It doesn’t overplay its hand, doesn’t pretend to ostentation. I would willingly see them again.

A full orchestra travels with the company. Because of the small size of the orchestra pit in the Spreckles Theater, the musicians were ranged into the side boxes of the house, which brought the performance out into the audience. Valery Platonov, the conductor, brought it all together in a fine manner.