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Natasha Rogai

Cinderella

Hong Kong Ballet

Auditorium, Sha Tin Town Hall

Reviewed: August 25

Hong Kong Ballet's first production under new artistic director John Meehan is a revival of Cinderella, created for the company by California-based choreographer David Allan  in 2004.

Allan's approach is aimed squarely at a family audience,  and succeeds well on that level, drawing an enthusiastic response from a packed house at Sha Tin. The story is told clearly, and if  the humour is sometimes crude,  it makes the children laugh and holds their attention.

Structurally, however, the ballet is unwieldy -  and much of the last act comes over as padding. The choreography is competent, but never rises above workmanlike.

Jin Yao and Brett Simon  (from West Australian Ballet) shone as Cinderella and her Prince. Jin danced with ease and assurance, and raised the choregraphy a notch by her musicality. Her acting was touching and I enjoyed the moment where she returns from the ball and gives a spirited imitation of the people she saw there. Simon stood out by his charismatic stage presence and excellent acting. He partnered well, but was tentative on his solos.

The scene-stealers  are the  Ugly Sisters,  played with robust, vaudevillian humour. The approach may not be subtle, but Izak David Claase and Beh Chang-ching have so much fun -  and are so amusing - that  it would  be mean-spirited not to laugh.

Another crowd-pleaser is Eryck Brahmania's Dancing Master, twittering with horror at the prospect of teaching these unlikely beauties to trip the light fantastic. This is Brahmania's farewell, as he is leaving to join London's Ballet Rambert. He will be missed.

The company was on good form, and it was an interesting indication of the new regime  to see some hitherto less-used dancers sparkling in solo roles.



Cinderella