RNZB Cinderella: A reimagining of a traditional favourite

The Royal New Zealand Ballet is returning for the 2022 season with a brand-new production of Cinderella, choreographed by Loughlan Prior and composed by Claire Cowan. The pair have worked together previously, creating Hansel and Gretel in 2019, and are developing a reputation for creating interesting modern takes on traditional fairy tale ballet. This time they're looking forward to a full season, and one which marks the RNZB's return to Wellington's St James Theatre for the first time since 2007.

But when they were approached by the RNZB to create Cinderella, it wasn't an instant yes.

"We looked at the original ballet and it didn't really resonate," admits Prior. Cowan agrees that they weren't particularly drawn to the story. Their response was to go back to the RNZB and pitch an update.

"The idea was to move away from Cinderella getting saved by Prince Charming," says Cowan, "and move towards her finding herself and being herself to get her happily ever after."

The RNZB were eager to get behind the idea, says Prior. "They really have embraced the changes and the opportunities," he says, "And people are much more intrigued."

Beyond just the feminist update to the story, giving Cinderella the opportunity to choose her own happily ever after, both Cowan and Prior wanted more diversity in the relationships that are portrayed on stage.

Loughlan Prior and Claire Cowan. Photo / Katherine Brook

As two queer creators, they found it frustrating that although ballet has a reputation for being quote-unquote gay, classical performances have almost always centred around straight relationships.

Prior says that working on the show through International Pride Month emphasised that seeing diversity on stage is a critical part of the ballet. "We're still hearing stories of troubles in the LGBTQI+ community," he says, "So this story is very necessary, representation is really important."

But he emphasises that this representation isn't there to be a token, or for shock value, "I'm most proud that we're not putting the queer narrative in there to be provocative. It fits in very nicely with Cinderella's story."

The idea of embracing queerness on the ballet stage isn't new, but it does run somewhat counter to the direction in which many ballet companies have framed men doing ballet. There has been a more recent emphasis on the idea of ballet as a manly, physical pursuit – taking one kind of homophobia and replacing it with another.

"There is a stigma of ballet being feminine," says Prior, "But I also resent that that has an effect on how masculinity is portrayed within ballet. That you have to be a strong man and you have to be very staunch."

He emphasises that this is particularly true for classical productions. "You can be abstract, and you can be suggestive, and you can have a male duet – but it doesn't mean as much without meaty characters."

Prior has tried to address this in Cinderella. "There's the whole Prince trope, where you have to be like a statue in a way. There is definitely more room for vulnerability, femininity and nuance – that's what I'm trying to do with Prince Charming."

This goes beyond just the story and characters, to be represented in the music and choreography. Cowan says there's often a very standard way that pas de deux – partnered dances – are put together. "People like to see dancers getting lifted above their [partners'] heads, there's a traditional sense of what impressive moves are and what audiences are expecting."

But when the partners are both men or are both women in pointe shoes, that dynamic has to change. Prior says that part of the choreography made him think differently about how to achieve the desired result. "Traditionally the physical nature of the pas de deux is you have the guy who is the foundation holding up the woman," he says, "I could talk for ages about the gender politics of it, it's super fascinating to keep reversing the roles.

"A pas de deux between two men or two women … becomes more about counterweight and sharing the role of where the balance point is."

The show certainly won't be lacking for impressive moments. Cinderella typically has only one central role for male dancers. Bringing in the new character of Prince Dashing and broadening the scope of the story beyond just one straight romance means there are some fun and interesting new supporting roles. Cowan jokes that usually when Cinderella comes around, the men in the company all complain about having nothing to do.

"There's a lot of amazing men dancing in the RNZB," Cowan enthuses, "I was sitting in on rehearsal, watching 20 men dancing with swords. I was scared to leave the room because I thought I might get stabbed."

Prior says that he feels good about creating the new Cinderella now. "It probably wouldn't have been possible to make this 10 years ago." And he's excited about the way they've been able to create a modern and diverse Cinderella. "It's loud and proud … I think that's a strength."

Cowan is slightly more pragmatic. "We needed to make something that's going to be accessible," she says. "If I had my way I would do even more to make this production queerer. But I think the way we are doing Cinderella will please everyone, and hopefully create some conversations."

Prior is eager for the performance to be judged on its own merits – and not to replace the classic Cinderella. Having danced in an earlier production, Prior appreciates that it's a well-known story and a well-loved ballet.

"I think they complement each other," he says, emphasising that the new production isn't intended to replace or throw shade on the traditional ballet. "You appreciate the reimaginings by keeping the old ones."

But when it comes to reinventing a classic, there is more than just the ideas and roles to play with. There is, of course, the music, the costumes, the staging, and the design. Developing a modern ballet makes use of modern technology – along with designer Emma Kingsbury, they worked through most of the planning on Zoom.

"When we had these Zoom conversations they went on for hours because we were just so full of ideas," says Cowan.

Here, too, they took some inspiration from queer culture. Flash, flamboyance, and over-the-top campiness is integrated into the aesthetic of the ballet. During the early Zoom sessions, the trio decided that limiting Cinderella to one time period meant missing out on too much. "We thought, 'Why can't we have it all? Why not!'" says Cowan, "We decided our approach to the design, the music, and the choreography is: more is more."

With music ranging from baroque to techno, and as many instruments integrated into the score as Cowan could fit – the percussion section alone is around 80 instruments – this production of Cinderella promises to contain highlights for everyone who attends.

"It really is a feast for the senses," says Cowan. "It's hard to hate this show."

And even with some aspects that might subvert expectations, Prior also expects a positive reception when audiences get to see the production. "I had some trepidations," he says, "But also, it's a bloody good time at the theatre."

Cinderella opens in Wellington on August 3 and in Auckland on August 10. Details of dates and other venues and bookings at rnzb.org.nz/shows/cinderella-2