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Director Carlos Acosta

Cinderella 8 – 10 July 2021

Momoko Hirata as Cinderella. © Sam Robinson.

BIRMINGHAM ROYAL BALLET ROYAL BALLET SINFONIA Patron Her Majesty the Queen President HRH The Prince of Wales Vice-President The Lady Sarah Chatto

Director Carlos Acosta cbe Chief Executive Officer Caroline Miller obe

Founded by Dame Ninette de Valois om, ch

Prima Ballerina Assoluta Dame Margot Fonteyn

Founder Choreographer Sir Frederick Ashton om, ch, cbe

Director Laureate Sir Peter Wright cbe

Founder Music Director Constant Lambert

Music Director Laureate Barry Wordsworth

Music Director Koen Kessels

WELCOME We’re so excited to be back in Plymouth and celebrating our return to stage with Sir David Bintley’s sublime Cinderella. A master craftsman, David brings this classic story to life for audiences of all ages. Carlos Acosta. © Johan Persson.

We return to the Theatre Royal in October with Sir Kenneth MacMillan’s exquisite Romeo and Juliet. From the balcony scene’s ecstatic pas de deux, exploring love in all its soaring wonder, to the lovers’ heart-breaking ends, Romeo and Juliet is dance at its most poignant and beautiful. Booking is open now for this enduring masterpiece.

three. Our storyteller and the Sugar Plum Fairy tell the story through excerpts from The Nutcracker. A feast of dance, music, costumes and lots of fun, this is a perfect introduction to ballet. Please join our mailing list so we can tell you about all of our exciting future plans at brb.org.uk/mailinglist. I hope you enjoy the performance.

Director

For younger audiences, we’ll be bringing First Steps: The Nutcracker Storybook, an hourlong, interactive show, specially adapted for children aged from A cast sheet is available to download at brb.org.uk/cinderella

Cinderella

Momoko Hirata as Cinderella. © Bill Cooper.

Music Sergei Prokofiev (by kind permission of Boosey & Hawkes Music Publishers Ltd)

Choreography David Bintley Designs John F. Macfarlane Lighting Peter Teigen (based on the original design by David Finn ) This award-winning show has been specially adapted with a reduced score and staging adaptations to allow for social distancing and performer ‘bubbles’.

World premiere: 24 November 2010, Birmingham Royal Ballet, Birmingham Hippodrome. Dedicated to the City of Birmingham. Supported (2010) by generous donations from David Lloyd, the estate of the late Lynne Groom and the Garfield Weston Foundation. Additional support (2010) from Mitchells & Butlers plc, Birmingham Hippodrome Theatre Trust, Birmingham Royal Ballet’s Director’s Appeal and The Clock is Ticking campaign, and The Big Arts Give 2010.

For biographies of the creative team visit brb.org.uk/cinderella

THE STORY Prologue There was once a young woman who was forced to live in the kitchen of a great house and to wait on her stepmother and stepsisters night and day. Her only bed was the fireplace, her only clothes, rags, and because of this she became known as Cinderella.

Act I Cinderella’s mother had died long ago. Her father had then married a cruel woman who already had two daughters of her own, and who bore the orphaned girl no love. Since the death of her father, however, Cinderella’s miserable life has become even bleaker. The family has little money and Cinderella has to scrimp and save, scrub and scour to serve her stepfamily. Her only possession is a pair of beautiful dancing slippers that once belonged to her mother and which she keeps hidden in a box under a cupboard, away from jealous and malicious eyes. When it is announced that there is to be a Ball, at which the Prince will choose his future queen, the house turns

into a hive of activity, with dressmakers, hairdressers and a dancing master all attempting to turn the two stepsisters into the belles of the Ball. In the cheerless gloom of the cellar, Cinderella discovers a poor old woman wearing rags, shoeless and shivering with cold, who has crept into the kitchen seeking warmth. Moved to compassion, Cinderella gives her what little she has, including her mother’s dancing shoes to warm her feet. The stepsisters set off for the palace, leaving Cinderella dreaming of the Ball. She is startled by the reappearance of the old beggar woman, who transforms herself into a vision of warmth, beauty and maternal love. It is the fairy spirit of Cinderella’s mother and she promises her daughter that, in time, she will find love and happiness. To that end she dresses Cinderella in a beautiful gown and conjures up a magnificent coach and liveried servants to whisk her off to the Ball.

Artists of Birmingham Royal Ballet. © Johan Persson.

For biographies of the dancers visit brb.org.uk/dancers

Act II

Act III

At the palace the Ball is in full swing. There are many beautiful women present, though none has yet captured the Prince’s heart. When Cinderella is announced, however, he is immediately enraptured, and they dance together for the rest of the evening.

It is the next day, and the Prince is sitting surrounded by piles of shoes discarded by women, young and old, who have arrived to persuade him that they are the one whose foot will fit the dancing slipper left behind by the mysterious Princess when she fled the night before. The stepsisters try to force their feet into the slipper, but with no luck. The Prince is in despair, when finally, Cinderella finds the courage to present her foot. The slipper fits! Reunited, the Prince and Cinderella declare their love.

As the clock strikes midnight, this magical world begins to disintegrate. Cinderella’s clothes return to rags, her liveried servants to rodents and reptiles, and her sparkling coach to a pumpkin. As she flees the palace, she inadvertently leaves behind one of her jewelled slippers.

DAVID BINTLEY

Karla Doorbar as Cinderella and Lachlan Monaghan as the Prince. © Johan Persson.

Technical credits Scenery construction, painting and props Royal Opera House Production Department Fibre optics Michael Scott at LiteSolution Real flame fire effect Howard Eaton Lighting Ltd Costumes Royal Opera House Production Department, Fran Alderson, Robert Allsopp, Amanda Barrow, June Callear, Pauline Cheney-Parker, Roxy Cressy, Karen Crichton, Jane Dalgarno, Jane Flannagan, Jane Gill, Jackie Hallatt, Tomoko Honda, Debbie Marchant, Andrea Moon and Ingrid Pryer, Suzanne Parkinson, David Plunckett, Phil Reynolds, Gwen Russell, Will Skeet, Sue

Join our mailing list: brb.org.uk/mailing-list

Smith, Yoshi Terashima, Mervyn Wallace, Charles White Dyeing Royal Opera House Dye Shop, Penny Hadrill and Bernie Esplin, Jenny Smith, Sheila White Headdresses, masks and costume props Royal Opera House Hat and Jewellery department, Martin Adams, Robert Allsopp, Debbie Boyd Production Manager Sue Usher Assistant to Production Manager Suzanne Hickinbotham Original Costume Supervisor Mary Terrey Original Assistant to Costume Supervisor Karen Short Revival Costume Supervision Birmingham Royal Ballet

BALLET CLASS A Cinderella-themed ballet class is available for budding young dancers to enjoy from the comfort of their home. Rebecca Brookes from Birmingham Royal Ballet’s Learning, Engagement, Access and Participation team follows the story of Cinderella and teaches some simple ballet technique, including a warm up. To participate visit bit.ly/BRB-CBS

Rebecca Brookes, LEAP Participation Manager

Momoko Hirata as Cinderella. © Bill Cooper.

THE PRINCE RETURNS Iain Mackay, former Principal and the original Prince when the ballet was created in 2010, returned to the studio to coach. Many dancers have made their debuts in Principal roles this season, including Karla Doorbar as Cinderella and Lachlan Monaghan as the Prince. Watch Iain in rehearsal and talking about coaching the intricacies of these roles here: brb.org.uk/mackay-coaching Karla Doorbar in rehearsal. © Ty Singleton. Iain Mackay as the Prince. © Bill Cooper.

For interviews and background information about the shows visit brb.org.uk/news

A NARRATIVE OF SUFFERING AND DESIRE The actors in fairytales are often princes and princesses, kings and queens, and the action is driven by magical transformations and the intervention of supernatural characters. Therefore it is easy to assume that the fairytale offers an escape from real life, into an enchanted neverland. Nothing could be further from the truth. At their heart, fairytales are realistic stories about families and their conflicts, and about each individual’s search for his or her true self. This ritualised search for individuality often involves separation from the original family, and the establishment of a new family through marriage. The fairytale we know as Cinderella, whose classic features were laid down in 1697 by the French writer Charles Perrault, follows this pattern. At the start, the family is in crisis. Cinderella’s own mother has died, quite probably in giving birth to her, and her father, unable to cope, has remarried a ‘proud and haughty’ widow with two disagreeable daughters of her own. Cinderella is verbally and physically abused, and treated like a household slave. Her only comfort is to sit

at the end of the day among the ashes of the hearth, and even that earns her the cruel nickname Cinderbum. This situation is so unbalanced it cannot last. The process of change is set in motion by the decision of the Prince to throw a ball, which is implicitly a kind of marriage test for all the eligible girls of the kingdom. The two stepsisters – who in Perrault’s text are vain rather than ugly – are of course invited, but downtrodden Cinderella is not. As the stepsisters tell her (in the excellent translation by Christopher Betts), ‘everyone would laugh, to see Cinderbum going to the ball!’. The stepsisters have their domineering mother – one of the classic wicked stepmothers of fairytale – on their side. Cinderella, it seems, has no one. Into this breach steps her ‘fairy godmother’, who with a few waves of her magic wand transforms Cinderella’s rags into a beautiful gown, a pumpkin into a golden coach, six mice into a team of dapple greys, and a whiskery rat into a moustachioed coachman.

Karla Doorbar as Cinderella, Alexandra Burman and Laura Day as her Stepsisters. © Johan Persson.

Karla Doorbar as Cinderella and Yvette Knight as the Fairy Godmother. © Johan Persson.

Where has this fairy godmother been through the years of Cinderella’s suffering? The implication is that she has been watching silently from the wings, waiting for this one chance to work her magic. She is, essentially, the incarnation of a mother’s love, which is stronger even than death. So many fairytales on the Cinderella theme have been collected from around the world that folklorists speak of a whole ‘Cinderella cycle’ of stories. One of the themes that unite them is this powerful one of the active survival of a mother’s love and protection beyond that mother’s physical death. For many Cinderella-figures, the mother is reincarnated as a helpful animal, such as a cow which may feed her from its horn. When the wicked stepmother finds out about the animal, often from the spying of her own daughters, she has it killed. But when Cinderella gathers the bones and buries them, a treasure-giving tree grows from the grave. These archaic elements are replaced in Perrault’s deftly witty text by the fairy godmother, a figure who may have been his own addition to his folktale source, along with such elements as the glass slipper and the rat coachman. But the emotional charge carried by the fairy godmother is the same as that embodied in the helpful cow or the bountiful tree. Cinderella is sustained

in her hour of need by her mother’s undying love. So where is Cinderella’s father in all this? In Perrault’s ‘Cendrillon’ he has no real presence at all. He is a mere cipher, completely under the thumb of his second wife, and his role in the story is utterly passive. But ‘Cendrillon’ was only one of two Cinderella stories retold by Charles Perrault.The second story, Donkeyskin, represents another branch of the Cinderella cycle, one in which the father’s reaction to the mother’s death takes a surprising and sinister turn. On her deathbed, his wife makes him promise never to re-marry unless he finds a woman even lovelier and more virtuous than her. This, she thinks, will be impossible. Once the husband recovers from his grief, he begins to look round for a new wife. Bound as he is by his deathbed vow, there is only one possible candidate – his own daughter. Desperate, the daughter seeks advice from her fairy godmother, who advises her to delay her father’s plan by asking for three impossible dresses – one like the sky, one like the moon, and one like the sun. When he supplies these, the godmother advises the daughter to ask for the skin of the king’s magical donkey which, instead of dung, produces gold coins. So mad with desire is the king that he slaughters the animal that is the source of his treasure. Wrapping

herself in the donkey’s skin, the daughter flees far away, where she takes menial service at a farm. There, like Cinderella, she is abused and overworked. One day, a passing Prince catches sight of Donkey-skin as she comforts herself by trying on one of her beautiful dresses. He falls in love with her, and, unable to find out who she is, sickens. Donkey-skin bakes him a cake, into which by accident or design she drops a ring. The Prince then announces that he will marry only the girl whose finger fits the ring. Once every eligible girl in the kingdom has tried it on, only one remains, the ‘ugly mole’, Donkey-skin. Sometimes in such stories, the father has three daughters, whom he challenges to declare their love for him in ever more extravagant terms. The youngest daughter tells him only that she loves him as much as meat loves salt, and is banished. When at the climax of the tale the father turns up unaware at her wedding to the Prince, she serves the meat unsalted and tasteless, thus proving that she did love him after all. This ‘love like salt’ variant of Cinderella supplies the underlying folktale pattern of Shakespeare’s King Lear.

children. Fairytales are often violent, erotic, and dark. When Angela Carter published her collection of short stories The Bloody Chamber in 1979, her revelation of what she called ‘the latent content of the traditional stories’ caused widespread shock. It wasn’t as if this latent content had been hidden. All of it – the incest, the child abuse, the transgressive sexuality, the violence, suffering, and retribution – had been on full public view in every collection of traditional tales. But readers, convinced that these were bedtime stories for children, had simply overlooked the darker subtexts. Fairytales do, though, usually have a happy ending, and Cinderella is no exception. After her years of trial, and the excitement and risk of her visit to the ball, comes the Prince in search of her, bearing the dropped glass slipper which, like Donkey-skin’s ring, will fit only his one true love. The instant of recognition, when the Prince sees through Cinderella’s rags to the inner beauty beneath, is this fairytale’s moment of true magic. Neil Philip Neil Philip is the author of The Cinderella Story (Penguin, 1989), and translator with Nicoletta Simborowski of The Complete Fairy Tales of Charles Perrault (Clarion, 1993)

Cinderella is a narrative of suffering and desire. Like most fairytales, it wasn’t intended as a story for

Lachlan Monaghan as the Prince with Laura Day and Alexandra Burman as the Stepsisters. © Johan Persson.

BENESH INTERNATIONAL The written language of dance

Birmingham Royal Ballet repertory is recorded in Benesh Movement Notation (BMN), the written language of dance, devised by Rudolf and Joan Benesh, and first published in 1956.

In many respects a Benesh Movement Notation score resembles a music score. The notation is written on a five-line stave that is read from left to right and from the top of the page to the bottom.

With a full notation score, a ballet could be performed by a company who have never seen it before. Birmingham Royal Ballet’s qualified Benesh Choreologists record new works and restage existing ballets using the system and, as custodians of the BMN system, support the dance profession by helping to protect choreographic copyright. Benesh International is part of the Royal Academy of Dance and enables teachers to study dance in a common language, and in more detail than is possible from written words or videos alone.

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Positions are recorded in a series of frames, similar to the build-up of a cartoon film.

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All information about body and limb positions is shown within the five-line stave, represented by three basic signs.

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The stave lines coincide with visually distinctive features of the body.

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Rhythm, phrasing and movement quality are shown above the stave.

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Direction faced, location within the working space, and paths of travel are shown below the stave.

For further information visit royalacademyofdance.org/benesh

Momoko Hirata as Cinderella with Artists of Birmingham Royal Ballet. © Roy Smiljanic.

Birmingham Royal Ballet supports the vision of Benesh International. To find out more about BMN, how to find, or train to become, a Benesh Choreologist, please visit royalacademyofdance.org/benesh 9

This is an extract from the Cinderella Benesh Movement Notation Score from Act I .

COLOURING SHEET

To download this and other activity sheets visit brb.org.uk/families

GET CLOSER The Dancers’ Circle and BRB Friends

Miki Mizutani as Cinderella. © Ty Singleton.

Becoming part of our Dancers’ Circle or BRB Friends is a hugely rewarding and engaging way to support the work of Birmingham Royal Ballet. Your support will help us deliver our extraordinary work, on stage and in communities, and will help ensure the future success of the Company. As a thank you we offer our supporters a programme of benefits which include:

• Priority booking or a concierge-style ticket booking service* • Exclusive online events • Invitations to rehearsals, insight events and pre-show receptions* • Our annual supporters’ magazine • Regular e-newsletters * Dependent on level of support

BECOME A SUPPORTER For more information and to become a Supporter visit brb.org.uk/support-us

THANK YOU

Major Supporters Carol Barrie Jayne Cadbury and Nigel Goodman The Foyle Foundation The Garfield Weston Foundation Charles Glanville and James Hogan Lord Glendonbrook Aud Jebsen Jerwood Foundation The Kirby Laing Foundation David and Mary Laing The Linbury Trust The Michael Bishop Foundation Tony Newcombe Oak Foundation The Patrick Trust

Dancers’ Circle – Principal Julia and Anthony Glossop Tony Newcombe Sir Michael and Joan Perry Dancers’ Circle – Soloist Jill and Andrew Chapman CMP Wealth Management Marian Mulady Sally Rowe Gillian Shaw John Weston Dancers’ Circle – Artist Philip Baldwin and Phillip Arnold Jenny Batelen and Rob Brett Roger and Felicity Burman Amanda Carter Dr Jim Clews Guy and Judy Crofts Irving and Olga David Robyn Durie Susan and Frederick Furniss Tessa Gillespie Prof Caroline Gordon P.S. and C.A. Gravestock Wendy and Gordon Hardy Jill and Malcolm Harris Tom Hotchkiss

Dr Sandra Kendall Tessa and Charles King-Farlow Shirley Leaver Hilary Macaulay Chantelle Mackay Robert and Eleanor Nagle Katie Newbon Linda Nicholls Sir David and Lady Win Normington Rosemary Perl Keith Perry Emily Pillinger Chris Relph Ross Roberts Carole Sallnow Barbara Scott Miles Scott and Lucille Roughley Margaret Shand Su and Richard Simkin Carla and Dilys Skinner Nick Makin and Brenda Sumner Brian & Susannah Swindell Ron & Jackie Treverton-Jones and to our many individual supporters who prefer to remain anonymous.

For full lists of Birmingham Royal Ballet’s generous supporters visit brb.org.uk/join-and-support

BIRMINGHAM ROYAL BALLET Director Carlos Acosta cbe Assistant Director Dominic Antonucci

BALLET STAFF Senior Ballet Master Michael O’Hare

Chief Executive Officer Caroline Miller obe

Rehearsal Director & Coach Marion Tait

Music Director and Conductor Koen Kessels

Benesh Choreologist / Video Archivist

Birmingham Royal Ballet Board of Directors Sir David Normington gcb Chair Barry Allen Marverine Cole Anthony Coombs Sandra Crossley Michael Elliott Jane Hackett Shireenah Ingram Jeanetta Laurence obe Christine Ondimu Hemma Patel Councillor Carl Rice Deborah Spence Ian Squires Anna Williams fca, dcha Company Secretary Governors of the Royal Ballet Companies and School Dame Sue Owen Chair Leanne Benjamin am obe Vice-Chair Sir Matthew Bourne obe Anne Bulford obe Hilary S. Carty bma ccmi Lady Alison Deighton Stephen Jefferies Jeanetta Laurence obe Iain Mackay Sir David Normington gcb Derek Purnell Luke Ritter cbe Christopher Rodrigues cbe David Ross Lindsay Tomlinson obe Jacqueline Mistry Honorary Secretary

Patricia Tierney DANCERS

Artists Gabriel Anderson Louis Andreasen Damen Axtens Sabbatical Alexandra Burman Rosanna Ely Ryan Felix Haoliang Feng Callum Findlay-White Tori Forsyth-Hecken August Generalli Miles Gilliver

Principals

Tessa Hogge

Yasuo Atsuji

Isabella Howard

Tzu-Chao Chou

Sofia Liñares

Mathias Dingman

Yu Kurihara

Samara Downs

Gus Payne

Céline Gittens

Darel Perez Apprentice

Momoko Hirata

Rachele Pizzillo

Brandon Lawrence

Emma Price

César Morales

Matilde Rodrigues

Tyrone Singleton

Javier Rojas

First Soloists Kit Holder Yvette Knight Rory Mackay Miki Mizutani Valentin Olovyannikov Jonathan Payn Artistic Enrichment Officer Yaoqian Shang

Hamish Scott Sabbatical Eilis Small Lennert Steegen Yuki Sugiura Lynsey Sutherland Joseph Taylor Lucy Waine Shuailun Wu Alexander Yap

Soloists

ROYAL BALLET SINFONIA

Laura Day

Principal Conductor Paul Murphy

Karla Doorbar Max Maslen Lachlan Monaghan Beatrice Parma Yijing Zhang First Artists Reina Fuchigami Alys Shee Edivaldo Souza da Silva Sabbatical

Daria Stanciulescu Maternity leave

Conductor Philip Ellis First Violins Robert Gibbs Leader Vanessa David Amanda Brown Deborah Schlenther Philip Aird Caroline Ferriman Second Violins Rebecca Jones Mary Martin Fiona Robertson Robert Simmons

Violas Errika Horsley Chris Pitsillides Cellos Antonio Novais Jane Rainey Double Basses Vera Pereira Maternity leave

Alan Taylor Flute Sandra Skipper Piccolo Oboe Maxwell Spiers Cor anglais Clarinets Ian Scott Harry Penny Bassoon Llinos Owen Contra bassoon Horns Andrew Littlemore Neil Mitchell Chris Pointon Trumpets Michael Allen Christopher Deacon Trombone Amos Miller Tuba David Gordon Shute Timpani Grahame King Percussion Kevin Earley Paul Parker Company Pianists Matthew Drury Ross Williams Jeanette Wong

Birmingham Royal Ballet’s repertory is recorded in Benesh Movement Notation by qualified choreologists trained at the Benesh International, 36 Battersea Square, London SW11 3RA

Chief Commercial Officer Paul James BRAND, MARKETING & COMMUNICATIONS Head of Marketing Kate Howells Marketing Executive – Campaigns Kesha Beaupierre Marketing Executive – Audience Joe Palfrey PR & Media Executive Lauren Morton Creative Digital Producer Tom Rogers

DEVELOPMENT

CEO / DIRECTOR

Director of Development Matt Freeman

PA to CEO & Director Jessica Rupert

Senior Manager – Trusts & Foundations Anna Hodgkinson

JERWOOD CENTRE

Trusts & Foundations Officer Rhianna Swancott Individual Giving Manager Chris Smith Individual Giving & Events Officer Ella Cockerton Development Officer Emma Thompson

Senior Design Executive Lee Armstrong Design Executives Vicki Costin Matt Davis

Human Resources Director Claire Owen HUMAN RESOURCES

Clinical Director Nick Allen phd msc mcsp srp Lead Company Physiotherapist Katie Davis msc mcsp srp Company Physiotherapists Esther Collacott mcsp srp Khushnum Pastakia mcsp srp Masseur Jason Boyle Medical Advisors Bellevue Medical Centre

Chief Operating Officer Anna Williams fca, dcha FINANCE & PROJECTS

Social Media Executive Tia Cham

Senior Human Resources Administrator Sam Howe

LEARNING, ENGAGEMENT, ACCESS & PARTICIPATION

Human Resources Administrator Tania Muthuparakunnel

Director of Learning, Access Engagement & Participation

Receptionist & Administrator Karen Fisher

Finance Officers Deseree GreenawayWilliams Ruth Whelan

Pearl Chesterman

Business Administration Apprentice Lucy Tranter

Finance Assistant Charlotte Rowley

Participation Manager Rebecca Brookes

Health, Safety, Facilities & Risk Manager Oliver Drain

ORCHESTRA STAFF

Engagement Manager Kasia Kraus

Facilities Co-ordinator Glenn Rudge

Participation Coordinator Katherine Field

Caretaker Philip Pearsall

Engagement Coordinator Hannah MacGregor

COMPANY OFFICE

Head of Creative Learning Lee Fisher

Company Manager Will Mauchline Sabbatical Acting Company Manager Tristan Rusdale Acting Assistant Company Manager Leanne Ward

Producer Abigail Reeve Finance Manager Kamla Korotane

Orchestra Director John Beadle Orchestra Manager Andrew Bentley TECHNICAL Technical Director Paul Grace Senior Stage Manager Diana Childs Deputy Stage Manager Eliska Robenn

Head of Scenic Presentation Doug Nicholson Head of Stage Ben Leveson Deputy Head of Stage Paul Moore Senior Stage Technicians Paul Amoo Steve Hegan Stage Technicians Paul Fisher-Bazan Tom Reilly Lighting Design Consultant Peter Teigen Head of Lighting Johnny Westall-Eyre Deputy Head of Lighting Andy Wilson Senior Lighting Technicians Alastair Phillips Andy Rumble Lighting Technicians Scott Smith Marcus Trombley Apprentice Head of Costume / Costume Supervisor Elaine Garlick Deputy Head of Costume Vanda Hewston Senior Workroom Technician Rosie Armitage Costume Technicians Jennifer Priestly Gabrielle Raven Joanna Shilton Anna Willetts Shoe Supervisor Michael Clifford Head of Wigs Lauren FitzGerald Deputy Head of Wigs Fay Johnson Wigs Assistant Lizzie Neary

Director Carlos Acosta

Romeo and Juliet 27-30 Oct 2021

THE DAILY MAIL

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