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Published: Monday, July 28, 1997

Monday, July 28, 1997

'Cinderella' captures magical charm of children's classic fairy tale

DANCE:

Interesting music, choreography, story add up to unique productionBy Alicia Cheak

Daily Bruin Contributor

Being a kid again means spit wads, playgrounds, and of course, the ballet. At least for this week, when the American Ballet performs the children's story, "Cinderella," Aug. 1 to 3, at the Dorothy Chandler Pavilion.

Choreographed to the music of Sergei Prokofiev, "Cinderella" is a full-length ballet given to the company in 1996 by Ben Stevenson. In a New York Times interview, Stevenson said that "Cinderella" is a title that sells tickets. Stevenson's other work, "Dracula," was part of Houston Ballet's repertoire in Los Angeles last week.

But unlike the blood-sucking, sensual "Dracula," which was a loose plot adaptation of Bram Stoker's gothic novel, "Cinderella" remains true to the original story. Colored with charm, beauty and innocence, "Cinderella" fulfills all that is expected of a fairy tale.

"It's a beautiful love story done in a classical manner," says Kevin McKenzie, artistic director of the company since 1992. "It's wonderfully romantic because in the end, boy meets girl and both of them are happy."

But before the happy ending and magical elements are introduced, the heroine must face adversity.

"She's got some rather overbearing step-sisters who are always trying to keep her in the background and put her in her place," McKenzie says, "But there's also a father who's clearly endeared to her."

Though the relationship between sisters is not enviable, magical elements balance the story to re-create the age-old theme of good versus evil.

"I love the depiction of how the fairy godmother takes care of Cinderella in the form of an old crone who comes in halfway through the first act. Cinderella is the only one who is kind to her," McKenzie says of both the fantastical and moral thread at work.

"Of course, after everyone leaves, the crone comes back and reveals herself as a beautiful fairy godmother."

Along with a voice of morality, McKenzie says that the production of "Cinderella" has a unique voice choreographically. Delicate fairy scenes compliment the expressive pas de deux, or pair dances, while opulent music plays in the ballroom.

"It keeps the essence of the fairy tale, in the best sense of the word," McKenzie says.

This beautiful fairy tale may have a place among all the full-length 19th-century classics as well as commissioned works by Jerome Robbins, Agnes de Mille and Twyla Tharp.

Under the leadership of McKenzie, the 58-year old company continues to expand its repertoire to include newer works such as "Cinderella." McKenzie also encourages new creations by younger artists.

But apart from upholding the founding philosophy of American Ballet Theatre, McKenzie, who was himself a principal dancer for the company, brings in a thought-provoking style of his own.

"It's important to adhere to the choreography and the classics, the same way that we have a play where you have to say the words, 'To be or not to be.'" But at the same time there's a tremendous amount of interpretation which can change the meaning," McKenzie says.

In adhering to the classics, the company will present a program dedicated to Tchaikovsky as a companion to "Cinderella" on July 30 and 31.

The repertoire features excerpts from classics like "The Nutcracker," "Sleeping Beauty" and "Swan Lake" and more modern works like James Kudella's "Cruel World," which is set to Tchaikovsky's "Souvenir de Florence." Unlike the full-length ballet which has three or four principal roles, the series of repertories puts more dancers on stage and makes for an eclectic evening.

"Ballet is an extremely disciplined art form but I really believe the performance has got to be individual within the confines of the choreography," McKenzie asserts of the challenge he has for his dancers and for himself. "And the program really shows the depth of the company. You get the versatility of the reps and performers."

Whether it be a full-length or shortened version, a fairy tale or thriller, what finally matters is the ballet as a whole. The work must reflect the sum of its parts the dancing, the story, the essence delivering a story one can believe in.

"Ballets, especially story ballets, are like plays," McKenzie says. "It's not dancing for dancing's sake. And the greatest challenge is met when you engage the audience."

DANCE: "Cinderella" runs at the Dorothy Chandler Pavilion from Aug. 1-3. For more information call (213) 972-7211.

American Ballet Theatre

Paloma Herrera performs the role of Cinderella in the American Ballet Theatre's version of this classic fairy tale.