Maria Kochetkova was a consummate Cinderella, dancing all three acts with an authentic youthfulness. While keeping that innocence consistent, she injected each variation with a different flavor – her first, a sense of sorrow and loneliness; the initial duet with a disguised Prince Guillaume (Joan Boada), careful and humorous; the ballroom scene, light and free. In this last example, Kochetkova floated through space, free of all burdens, especially in her circular turning sequence. In Act III, as Cinderella remembered the ball, choreographic snippets and motifs recurred. She was not reliving those moments in sadness or despair, rather in hope and joy of inclusion. Wheeldon’s choreography for Cinderella and the Prince’s final pas de deux also carried a hopeful nature, but it had much more of a forward feel. Effortless lifts and circular spins pointed the young couple toward their future.
Posted on: Thu, 13 Mar 2014 18:49:36 +0000
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