Cinderella has been a popular pantomime since 1830. Today, you can see it performed as a ballet by Prokofiev, an opera by Rossini, a musical by Rodgers and Hammerstein, a film by Kenneth Branagh, or even a Disney cartoon.
A lot of people will be opting for the ballet and spectacle of Matthew Bourne (he of the male-led Swan Lake), designed by Lez Brotherston, at Sadler’s Wells Theatre. It is set during the height of the London Blitz in 1940. It’s a great pity that the pre-recorded Prokofiev has been deliberately over-amplified to create a cinematic surround sound. I felt like Gulliver did when he was listening to an orchestra in Brobdingnag.
Bourne loves movies and there are references to A Matter of Life and Death, Waterloo Road and Brief Encounter. The wicked stepmother is modelled on Joan Crawford. She is so wicked that she tries to smother Cinders.
Bourne stretches a two-act ballet to three acts. There’s too much meaningless dancing for dancing’s sake in the Café de Paris. Ashley Shaw and Andrew Monaghan’s high spot is when Cinderella dances with a tailor’s dummy, which is transformed into her Prince.
Julius Caesar and Antony and Cleopatra are two quite separate plays. But if you see them as a double bill at a matinée and evening performance at the Barbican, as part of the RSC’s Roman Season, it is even more of a shock to see what has happened to Mark Antony. The triple pillar of the world has been transformed into a strumpet’s fool, so infatuated that he neglects duty and honour. In Julius Caesar, Antony is a charismatic, athletic young man who is a brilliant orator. In Antony and Cleopatra, by contrast, Antony is an old ruffian. He has aged so much that the role has to be played by another actor.
The most famous lovers in history, insanely jealous of each other and long past their sell-by dates, bungle everything. Antony even bungles his own death, and then lives long enough to learn that Cleopatra is not dead but merely wished to find out what he would do if he heard she were.
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