London Children’s Ballet, a charity in existence since 1994, does itself proud with Ella’s Big Chance: A Jazz-Age Cinderella. Their latest production is performed by fifty young dancers, aged nine to sixteen, though I’d swear there were a hundred on the bustling stage…
Many hands have been involved in getting it to this energetic (acrobatics and jazz hands) and refined state. Based on the 2003 book by prolific children’s book writer and illustrator Shirley Hughes, which won her a second Kate Greenaway prize, it is another, of a multitude of versions, of the Cinderella story. Her son Ed Vulliamy has written a lovely homage to his mother in the fulsome programme notes.
I might add that the talented bunch of dancers has also beautifully illustrated the programme, one to be treasured by the family and friends audience packing the theatre on the first night, buzzing with anticipation, many holding bouquets of flowers. I bet there’ll be a party later… and the dancers will be high as kites.
To add to the professionalism, there is a live orchestra under conductor Philip Hesketh’s baton, interpreting Ian Stephens’s composition, inflected with many familiar jazzy standards. Shirley Hughes, who wanted to be a theatre designer in her younger days, would be delighted with Carrie-Ann Stein’s set and flapper era costume designs, inspired by her illustrations.
There are eleven scenes over two acts, the whole lasting one hour, forty minutes with interval. But there’s a twist in the tale, which is written up in the programme synopsis, so this won’t be a spoiler. Ella does not go off with the prince, here the Duke of Arc. As you know, her father, Mr Cinders (a dress shop owner—fine excuse for some glamorous designs), remarries, and she gets a horrible stepmother and two spiteful stepsisters. They are invited to the Duchess of Arc’s ball, but Ella stays behind with the cat and Buttons, who always makes her laugh and makes her bacon and eggs.
Cue for the fairy godmother, whom I mistake for Mary Poppins with her umbrella... there are many borrowings from other stories and shows, as there always are in the many variations of Cinderella—see if you can spot them. The video projections (lighting Mark Jonathan) come into their own during her magical appearances.
And so many additional characters to love: bakers (two), postman on his trike (love the trike, I once had one like that when my children were small—to their embarrassment), milkman, grocer, butchers (two), florist, customers (six), flower girls (three), villagers (four), wealthy customers (eleven), mannequins (four), chauffeur, lead magic (three), magic (fourteen), umbrellas (two), ball guests (thirteen), musicians (seven), cheeky waitresses (six who inject a bit of street humour), clock (twelve), villa staff (five), leggy shoe hopefuls (nine), two cats, three kittens, flapper girl, duchess’s friends and more, many performers doubling and tripling.
This is as much dance theatre as ballet and a wonderful preparation for future careers across the dance world. If biographies are anything to go by, they could go in many directions. Fifteen-year-old Jude Illing (Duke) is already heading for the English National Ballet School in September. Gina Harris-Sullivan (aged 15) is a no-nonsense Ella, but it’s Toby Gray (15) as Buttons who takes my eye with his technique and ballon—he is a joy to watch. Corin Bayley-Bell (14) as Mr Cinders has presence, as do too many to mention. My eyes dart all over the place trying to keep up with the migrating swifts.
McNally’s choreography is singularly hers. Amazing to marshal so many on the stage at one time. And it is full of wit. I bet the youngsters on stage and in the audience love the cool cats (Thena Amolo and Eve Schwartz), who produce a litter of three kittens. A lovely touch.
Affectionate, heart-warming, full of stamina and commitment, may LCB’s good works proliferate... I wish they had been around in my day. Their work with the disadvantaged is priceless: their Ballet for £1 Matinées, their Ballet in a Box touring to those who can’t make it to the theatre, to hospices, care homes and special needs schools… On première night, all takings go into its fund.
Première night is a bit of an end of year speech day, with speeches before the show from artistic director Ruth Brill (formerly with ENB and BRB and as a child in four LCB productions), from Royal Ballet dancer, senior ballet master and newly appointed patron of LCB Gary Avis (with a message from tonight’s choreographer, RB’s character dancer Kirsten McNally, who was performing in A Single Man in Manchester), and from three confident young performers. Avis has also contributed to the programme notes, a feast of information.