Word: kudelkaã
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However, a good comedy needs wit, and a powerful fairy-tale needs phantasmagoric romance, and James Kudelka??s “Cinderella” had neither. In the end, though, it’s still a “Cinderella” story, which was acknowledged both by the very receptive audience and the same paparazzo snagging a last photo of the bride as the curtain came down. As Cinderella evolves from dreamy chamber-maiden into social royalty, she progresses, with thrilling parallelism, from soft canvas slippers to Swarovski-encrusted pointe shoes. The resulting three-act trajectory surely...
...step she consumes the whole stage, and you need not hold your breath as she executes a series of turns with incredible speed and force (with one foot en pointe and the other barefoot, mind you). Cornejo’s raw energy and physicality was irresistible, helping to justify Kudelka??s non-traditional vision...
...four assistants to the Fairy Godmother, who presides over the aforementioned—magical—backyard garden. In a variation that could not have lasted longer than two minutes, her absolutely perfect execution was as crystal-clear as the glass slipper that’s missing from Kudelka??s production...
This Cinderella wears a satin pointe shoe adorned with crystals, and it’s Kudelka??s most brilliant contribution—though the image is spoiled as she is stripped of it and her clothes, to be revealed barefoot and in a silk slip, surrounded by an army of pumpkin-heads...
...Kudelka??s decision to cast women as the step-sisters, as opposed to the traditional strategy of employing men, was rooted in the hope that they would pull off the shtick and slap-stick humor with more high-brow jest than the gender-bending farce. Cornejo herself was more naturally entertaining at ABT than were Tempe Ostergren and Megan Gray here, but both are leggy beauties who mugged with aplomb...
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