Cinderella at 80, Part 4 — Dancing Through the West: Cinderella on the World Stage
- Roman Mykyta
- 2 hours ago
- 6 min read
Eighty years ago, in the midst of a world at war, Sergei Prokofiev brought to life one of ballet’s most unforgettable heroines — Cinderella. In his hands, a familiar fairy tale became a story of resilience, grace, and hope.
In this five-part series, I revisit Cinderella as both artist and admirer — tracing her journey from ancient myth to the stage, through landmark productions, and finally to the ways she continues to inspire movement and creativity in my own work.
Adapted from a compilation of my own research, writing, and choreographic exploration, this series celebrates the cultural, musical, and personal legacy of Prokofiev’s masterpiece.
Join me in honoring eight decades of transformation, beauty, and magic.
Cinderella at 80: Dancing Through the West — Cinderella on the World Stage
While Prokofiev’s Cinderella was born in the Soviet Union, its magic soon traveled across the globe. As the ballet journeyed westward, choreographers and companies adapted it to their own cultural contexts, creating new interpretations that balanced tradition with innovation.
From Frederick Ashton’s poetic 1948 staging in England to contemporary reinterpretations by Alexei Ratmansky and Christopher Wheeldon, Cinderella’s grace, wit, and resilience found fresh resonance for each era.
Frederick Ashton and the Royal Ballet
In 1948, just three years after the Bolshoi premiere, Frederick Ashton brought Cinderella to London’s Royal Ballet, marking England’s first original full-length classical ballet. The post-war period in Britain was a time of rebuilding and renewal, and the arts played a vital role in cultural revitalization. Ashton drew inspiration from the grandeur of The Sleeping Beauty and Britain’s pantomime tradition, blending pageantry with subtle theatricality.
Ashton’s choreography retained the structure of classical ballet while infusing it with distinctly British nuances. The court scenes and ball sequences were executed with formal grace, yet the comedic elements — particularly the Stepsisters — showcased witty exaggeration and vaudevillian timing. In a nod to theatrical tradition, Ashton cast himself as one of the Stepsisters, establishing a precedent for en travesti performances that persists in English-speaking productions.
Under Ashton’s direction, Cinderella’s transformations were both magical and psychologically compelling. She remained virtuous and graceful, yet her humanity was always evident. Audiences were captivated by the ballet’s seamless combination of spectacle, humor, and emotional depth. Ashton’s version set a benchmark for the West.
Early American Productions
The West Coast of the United States welcomed Cinderella before it appeared on the East Coast. Willam Christensen staged his version for Ballet West in 1970, emphasizing fluidity, emotional clarity, and musicality. Alexander Fried, a prominent critic, praised Christensen’s choreography for its “unfailingly fitting group and solo action to the interplaying romance, sadness, and comedy of Prokofiev’s brilliant music.”
Dianna Cuatto, my artistic mentor, performed as the Fairy Godmother in Christensen’s production. Later, Ben Stevenson’s staging for the National Ballet in Washington, D.C., built on Ashton’s influence, introducing emotionally charged partnering and nuanced character development. Michael Smuin, collaborating with Lew Christensen for the San Francisco Ballet, further emphasized comedic timing alongside regal classical choreography, bridging the traditions of European ballet with American performance sensibilities.
Berlin, Paris, and Beyond
The 20th century saw Cinderella flourish on European stages. Tom Schilling’s production at the Berlin Comic Opera Ballet exemplified innovative interpretation, pairing avant-garde design with choreography that highlighted both whimsy and technical precision. Rudolf Nureyev’s version for the Paris Opera Ballet initially sought to reconstruct 19th-century grandeur but ultimately reimagined the story in a Golden Age Hollywood context. Nureyev’s Cinderella was a starlet, and the production incorporated cinematic references, silent film homages, and a playful modernity while preserving the ballet’s magical essence.
Vladimir Vasiliev’s interpretation, featuring his wife Ekaterina Maximova as Cinderella, emphasized character depth and emotional nuance. Vasiliev and Maximova’s collaboration offered audiences a portrayal of Cinderella that combined sweetness, gentleness, and an understated strength.
21st-Century Interpretations
In the 21st Century, Cinderella has been reinterpreted by the great choreographers of our time. Alexi Ratmansky created his version with Diana Vishneva originating the titular role. Ratmansky establishes the setting in the Soviet Union. Cinderella’s troubled upbringing is linked with the social issues of the Soviet Union. The Ball seems to be set during the time of the late 1980s and “Perestroika.” He effectively depicts Cinderella as a shy dreamer, while the Prince is characterized as sanguine and flamboyant. The Stepfamily tends to steal the show with their hilarious diva antics. The seasons are danced by men in bright colorful costumes and the fairy godmother is an ambiguous character. Ratmansky undercuts the happy ending by including a scene in which Cinderella struggles to adapt to her new life. She still feels the compulsive need to clean and please from her conditioning, while the Prince tries to reassure her.
Christopher Wheeldon choreographed his production, setting half of the production at the San Francisco Ballet and the other half at the Dutch National Ballet. I was lucky enough to see San Francisco Ballet perform his version live at the Kennedy Center and own a video copy of a Dutch National performance including an invaluable commentary cut of the performance with Christopher Wheeldon discussing his work. In responding to the darker tones of Prokofiev’s score, Christopher Wheeldon chose to base his libretto after the Grimm version of narrative. In collaboration with his designer, Act I culminates with Cinderella visiting a giant puppet tree at her Mother’s grave, which goes on to affect her marvelous transformation. There are still seasonal spirits but the Fairy Godmother character is replaced by four contemporary movers - four men representing the four fates. Christopher Wheeldon also adjusted his libretto to give each character a more in depth treatment. In his staging, Cinderella isn’t forced to be her family’s servant, rather she steps into that role as a type of peacekeeper to keep the family going. Most audiences in the 21st century aren’t forced into service, but they can identify with playing a part in a codependent relationship. The Stepfamily is also presented in three dimensions. The mother is a nervous social climber on behalf of her girls; one stepsister remains sympathetic to Cinderella but passive, while only the other one asserts herself as the classic antagonist, but in the end, even she realizes that she was in over her head. The Prince also has backstory and a best friend; he is pressured to marry but he falls in love with Cinderella and she with him before they even meet at the ball. At first, he pretends to be a beggar who she shows kindness to; later she disguises herself as a real princess at the ball and in the end the two meet as they truly are.
David Bintley choreographed a critically acclaimed version for the Birmingham Royal Ballet. An ingenious choreographic idea, he had Cinderella dance all her solos barefoot until she is given the slippers by her Fairy Godmother.
Why Western Interpretations Matter
The West’s embrace of Cinderella has contributed to its global legacy. Choreographers have adapted the ballet to local cultural contexts, exploring psychological complexity, social nuance, and theatrical innovation. These reinterpretations have enriched the ballet’s repertoire, introducing audiences to multiple perspectives while preserving the story’s emotional and moral essence.
Western productions also highlight the collaborative nature of ballet. Designers, choreographers, dancers, and musicians work in concert to create a unified artistic experience. Each new staging offers opportunities for experimentation, from minimalist and abstract approaches to lavishly detailed historical reconstructions. This dynamic interplay ensures that Cinderella remains relevant and compelling, even as performance traditions evolve.
Enduring Magic on the Global Stage
Eighty years after Prokofiev composed the score, Cinderella continues to captivate audiences worldwide. The ballet’s success in the West underscores its universality: its themes of kindness, resilience, transformation, and love resonate across cultures and generations. By adapting the ballet to different artistic, social, and historical contexts, choreographers have kept Cinderella’s story alive, relevant, and magical.
Ultimately, the ballet’s enduring power lies in its balance between the familiar and the novel. Western productions honor the traditions established by Prokofiev and the Bolshoi, yet they introduce innovations that reflect contemporary sensibilities. Cinderella remains a living work of art, a tale that grows richer with each performance, inviting audiences to experience both wonder and humanity in every step.