Category: General News


Structural work

While David Bintley is already an experienced creator of full-length narrative ballets, Cinderella still requires a new approach. ‘There is a very definite classical model to the ballet’, says David. It’s grown entirely out of the music, and so there is a variation for the Prince and a variation for Cinderella. There are set pas de deux, and group works, and classical forms to readdress, which I always enjoy doing. But previous full-length ballets that I’ve done have not had this form; Sylvia is the closest that I’ve ever come to it.’

The structure of the work has changed a few times over the past months, as David has resolved how the story will play out on stage. ‘At one point we thought it might be a very nice idea to run the second and third acts together’, he says, ‘because the third act tends to be a bit short. Narratively, and dramatically, it could have worked very well, but unfortunately it would have given us a first act of 35 minutes and a second act of over an hour, even with some cuts we looked at. That’s just an uncomfortable shape, so we reverted back to three acts, as is traditional.’

Designer John Macfarlane had originally designed the piece to be a two-act ballet, and so from a technical standpoint all the sets and costumes could be turned around in such a way. But David admits that it has given them some breathing space. ‘The stage crew, certainly, are very pleased that they get more time for that transition,’ he says, ‘and Cinderella herself gets a bit of a breather and a chance to get out of her finery and back into her rags after the ball.’

The Director has already revealed that he often looks ahead to his next project before a new ballet is completed, and enjoys the ‘cross pollination’ of ideas between contrasting works. However in this instance there is less scope for influence. ‘The next piece that I’ll do will probably have some similarities with Cinderella – it’s a full-length piece that I’m doing with the New National Ballet of Japan and it does recall the classic forms. So Cinderella will no doubt have some bearing on that, but both will be miles away from E=mc²!’

David Bintley has commented on working with Marion Tait on the role of the Stepmother.

Speaking over the summer, he said:

‘Marion is a terrific actress. The great thing about working with her is that when you give her a role she really thinks about it and brings a lot to it. She makes a lot of suggestions, which is great for me!

‘It should be a very interesting role, because I really want this woman to be monstrous. Not in an obvious “Carabosse” way, but in much more of a mean and calculated way. There’s an element of Betty Davis and Joan Crawford – or Mrs Danvers, Miss Faversham, those monstrous literary creations. She should be the absolute fairytale stepmother, who of course in those original stories is an immensely powerful force.’

Elisha Willis has been confirmed as creating the title role in David Bintley’s forthcoming new production of Cinderella.

Born in Australia, Elisha Willis trained at the Australian Ballet School, joining Australian Ballet in 1999 where she was promoted to Soloist in 2001. She joined Birmingham Royal Ballet in 2003 and following a succession of accomplished debuts in many leading roles was promoted to Principal in 2004.

Introducing Elisha in her official Company biography, David Bintley noted: ‘One of the youngest of our Principal dancers, Elisha is blessed with a fearless technique and has already created a number of important roles in the recent repertory, most notably Roxane in Cyrano and Eurydice in The Orpheus Suite.’

Speaking more recently of his decision, David said:

‘I always like working with Elisha. As a choreographer, I find her very good to work with. She’s very responsive and she understands what I want very quickly so when I’ve made a new piece of material I can see if it’s right immediately.

For the role of Cinderella I wanted somebody that wasn’t obviously vulnerable – too obviously delicate and weak – but somebody that would be real and able to withstand the kind of punishment that the character has had to endure. And Elisha’s quite tough, which is exactly what I wanted. Plus she has a very good technique, she can do anything and do it quickly.

Cinderella's coach

It has been hinted that Cinderella’s trip to the Prince’s ball may hold surprises for the audience in this new production.

‘John [Macfarlane, designer] was hesitant to have a coach at first, as he didn’t see how it could be achieved,’ confesses David. ‘I came up with an alternative that we both rather liked, although I’m not sure how it would have worked in practise.

‘There’s a vast starry background, and I suggested that Cinderella could literally run up the stars to exit the scene. So we would have an invisible staircase and she would seemingly disappear into the sky. I liked the idea of her being a bit like a child, with her dress and shoes being a little bit too big, before we saw her at the ball in the next scene.

‘I was also going to parallel that staircase with the stairs that lead up and out of her cellar kitchen; stairs that Cinderella is never allowed to step on.

‘So we were going to go ahead with that concept, but then everybody that John spoke to about the project said: ‘You’ve gotta have a coach!’ So we looked at it again and now we’ve got a coach, but it doesn’t do what coaches usually do…’

Cinderella will tour in 2011

David Bintley’s new production of Cinderella will tour the UK in 2011, with some dates already on sale now.

A full list of performance dates, along with confirmed on sale dates, can be found below:

Birmingham Hippodrome
24 Nov–12 Dec
On sale now – click here to book

The Lowry, Salford
19–22 Jan
On sale now – click here to book

Plymouth Theatre Royal
25–29 Jan
On sale date TBC

London Coliseum
29 Mar–2 Apr
On sale now – click here to book

Speaking of the implications of touring the production to different theatres, David Bintley said:

‘Whenever we do a full-length ballet now we always establish right at the start how we’ll get it into our smaller theatres. So within reason, our new production of Cinderella has been designed with touring in mind. We will probably remake a few elements so we have a big version of the production for the bigger theatres and a slightly smaller version for the slightly smaller theatres. That’s not to say we’ll have an entirely different set, we won’t. In most cases we’ll decide to drop a cloth, drop a bar, have half as many stairs, and so on. So it isn’t a question of us just blindly making a production then later thinking ‘how on earth are we going to get this into Sunderland?’. We don’t do that, we do it alongside the design process and build things in such a way that we can recreate them even when we go into smaller venues.’

From the original Company press release, issued 7 December 2009:

Birmingham Royal Ballet is delighted to announce a brand new production of Cinderella to be performed at Birmingham Hippodrome during the company’s winter season in 2010.

Cinderella will be choreographed by Birmingham Royal Ballet’s Director David Bintley with designs by John Macfarlane, lighting by David Finn and music by Sergei Prokofiev.

The full-length, narrative ballet reunites the design team behind the company’s ever-popular and Christmas family favourite, The Nutcracker. John Macfarlane’s extravagant and magical designs are currently enthralling audiences of all ages at Birmingham Hippodrome in The Nutcracker until Sunday 13 December. The production will not be performed at the Hippodrome again until 2011.

David Bintley, Director of Birmingham Royal Ballet said:

‘I am very excited to work on a new production of Cinderella. Not only I am delighted to be working with John Macfarlane, David Finn and the company’s new music director Koen Kessels but 2010 also marks Birmingham Royal Ballet’s 20th anniversary year in Birmingham. The announcement of a new production shows the company continues to go from strength to strength in this great city.’

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